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Mr. ‘irby Considers Com- 
ing Sale of the Late M. C. D. 
Borden’s Paintings Most Im- 
|portant Event Since Dis- 
jposal of Yerkes. Pictures— 
+To Be Shown in American 
Wt rt Galleries and Sold in 


nace Been in Several Fac 
mous Exhibitions—Rem- 


| Reretion is over. 


_ iis is prophesy ing. The sale ee! t || 
until February 18, and meanwhile 
r mas H.. Kirby, of the American | 
levies, will be engaged conducting | 
® sales. He is confident, however, | 
“ut the sale of the M. C. D. Borden pic- 
98 will be the most important event in 
art world that has oceurred here since | 
-» Yerkes collection passed under the | 
fl Of his pencil. But again, at the 
‘Orden sale, it should prove an exper 
(watch for the quick gesture with whic 
tt pencil descends when Mr. Kirby's | 
‘igment, informed by long experience | 
_ Selling masterpieces, tells him that no 
is ligher bid may be expected for a picture. 
' The paintings gathered together by the 
late M. ©. D. Borden form one of the 
eat American art callections. 


/is indeed . n event. 


Its dis- 
It will be on 
bition in the American Art Galleries, 
», 6 Hast Twenty-third street, from F'ri- 
, February 7, until and including the 
te of public sale, which takes place in | 
he ballroom of the Hotel Plaza on the 
‘yenings of Thursday and Friday Febru- 

13 and 14. No doubt Mr. Kirby, who 


«bee add Hals, Reynolds, 
ee saiey, Millet and Other 
Great 


Masters Represented. 


Piias established record price after record ; self, The gesture of the left hand seems, 


smartly down on the [price for works of art, is out for another;/ih a manner, to protest against this act) 


ay — ce aaa jrecord, and may well make it with one | lof self-destruction, But the expression of 


since the dispersal of the Yerkes | 


5 


\of the eighty-two pictures of the Borden ‘the face is a mingling of sadness and de-| 
collection. termination, and even if her suicide were 
With some of the paintings in this col-|\mot a matter of ‘history the spectator 
. 
/ 


‘lection the public should be familiar. Sev-| herent know. that ‘it was about to take 
feral of them were important contributions} place. 
‘to the Hudson-Fulton exhibition of Dutch Her costume, as will ‘be remembered 
Imasters of Hudson’s time in the Metro-| from the exhibition, is a rich dress of 
politan Museum of Art. Others figured] greenish gold color, with wide sleeves and. 
is the old masters’ show in the Knoedler} a lace bodice, while about her throat pike, 
galleries last season, a necklace of pearls and a cord with sl 
In the Hudson-Fulton exhibition Mr. jewelled pendant and in her ears pearl 
| Borden ‘had no fewer than eight of his} earrings, a costume and accessories which | 
rience | Duteb pictures. No other collections were are known to have been the property of| 
| more largely drawn from save those of | the artist. The model was often employed’ 
‘Mr, Morgan, ‘Mr. Widener and Mr. John- by him in his fa years, The picture 
ison. Probably the most noteworthy Dutch] ‘is spoken of as “one of the wonderful 
painting in the Borden collection is Rem-|| creations of the great artist,” and the 
ibrandt’s ‘‘Lacretia Stabbing MHerself.”’| author of this portion of the Borden cata- 
‘This picture is dated 1664 and therefore!/logue describes the figure as “looming 
| was painted only five years before the 'through a flood of golden tones” and the 
lartist’s death. _pale face as seemingly blurred by a diaph- 
The subject is presented in, that dra-||anous véil of sunny mist. *“At every 
matic manner characteristic of several! point one is made aware of the master 
pictures of his Tater period. ‘Her pose! hand schooled in hundreds of pictures 
‘seems borrowed from thé theatre,” writes|| which are great achievements.” 
Dr, Valentiner in the Borden ¢atalogue.!} The Frans Hals of the Rorden collec. 
“She stands as though in the centre of the!) tion also was in the Hudson-Fulton, ex- 
ie with both hands equally raised.’’7| hibition. This is a portrait of the Rev. 


{ 


The right hand grasps the hilt of the dag-| Caspar Sibelius, dated 1657, It is inter- 
ger poised for the fatal stroke wpon her-|| ¢Sting to note that in the same year ag its 


pi eae medenetn 


a 


THE WILLETT CHILDREN 
2y ROMNEY aoe 
completion it was engraved by Suyderhoef, 
who made another engraving from it in} | 
1642, An impression of this latter is ats | F 
‘dached ‘to the back of the picture. The 
“portrait dates from the same period as| 
\several other famous works by the same 
‘painter in American collections. Among 
ithese are the “Portrait of a Painter” and 
ithe “Portrait of an Old. Woman,” which 
‘passed from the Yerkes collection into 
\ | that of Mr. Frick; and the ‘Michiel de 
“ | Wael,” which belongs to Mr. ‘Morgan.! 
Though shown in half length only, the} 
Rey. Caspar ‘Sibelius, his head turned 
| slightly toward the right but facing front,| 
this left hand raised in persuasive gesture, 
ja small prayer book in his right, is -as 
jclearly addressing his congregation as if 
lhe had been painted at full length in his 
pulpit. 
He is in black, with a broad, flat white. 
ruff and a black skull cap. From a writ- 
ing on the back of the painting it would 


ae 2 eee a 


Sibelius 
Professor 


W appear that presented. this 
trait: tev" a Hoffman,. whose 
‘| further identity, however, has remained 
unknown, 

| A copy of the Van Dyck in the Borden 
j collection is in the Museum of Donaj : 
lis there catalogued ae Piblionha 
| Hubert Duhot.” ‘More likely, hosvever, 9 
represents a famous engraver. Scheltius a 


por- 


as 


Bolswert (known especially as an en- 
gtayver vi Rubeus), sinee if bears f.1re- 


eat iia Sipiaks onal murs a SS Sa 
{jist ie 


‘GENTLEMAN, '4y VAN DYCK 


Semblance to a seventeenth century print | ase 3 fon 
of the engraver by Lommelin, ‘The picture | LUCRETIA by REMBRANDT 


dates ey a ek SAR tWCED DEPIO) ppp rcmreceei y 
and is a serious, thoughtful representation| 
of a dignified looking man. He is shown 
three-quarters length, standing and facing |*". Saha r 
front, the head yery slightly turned to the} oe cana ee fe ome - Siesance a 
right. st hasSh siecks and a small ingratiating personality. It is a life size 
pointed beard; His right Buh ie doncoiied Full bust portrait of a young lady of unos- 
lby his mantle, which is:thrown over his itentatious yet girlish and charmitig expres: | 


'shouldets, but his left is fixed at the elbow sion, facing the viewer. The agreeable: 
and his hand hangs easily. His costume |*i™Plicity of aspect is aided by the plain|to the England of the eighteenth century, 


is black with white ruff and the back-|combing back of her dark brown hair,| this is she. For it is a picture that is 
ground is dark gray. which is adorned by an aigrette of red vel-| more like a dream likeness of a beauti- 
Gainsborough, Reynolds, Iawrence, | vet. and with it a’string of small pearls.) fu] woman than like a painted canvas. 
Romney and Hoppner are among the Eng-|'The eyes are dark blue. Her costumeis4] ‘This aristocratic creature stands full 
lishmen represented in the Borden collec-|gnay silk robe with, at the neck, a low}length upon some high point in land- 
tion. The Gainsborough is the portrait round opening having 'a broad band of em-) scane, her right elbow resting on a ped- 
of Miss Horde, An oval, life size bust | broidery edged with lace. Over an ornar estal, the arm describing a beautiful eurve 
portrait of a young woman turned three-}™ental clasp in the centre of this band | Mh) toak hes toad) rasta anew, bee eae 
quarters to the left and looking at the| Passes a rope of large beads eoming from | SHE atoakia toobe jookiie wien cobs ad 
spectator. It is painted with the lizht, | under a Cloak of light blue silk, richly. emi; soulful, poetic, dreamy expression on ‘her 
dainty, almost playful, touch that so often| Proidered and lined with ermine.  Dhis high born face. Her dress is white, the 


characterized the artist's technique in| portrait has been in the collections pF dnbaue Of her fieute more fully heedele 
out by a gracefully draped Pompeiian/ 


painting women. Miss Caroline Anne | Colonel Morris, London, and Lord Hast-| 

| Horde's eyes @re -blue, her hair. light, | Ings, “bende Rieke enacts igpueiy aaenes piue| 
\ + ; ¢ ry’ ay ' he A ta ¢ j oa + 

(curled and powdered and encircled with a ‘The Law rence is a life size bust portrait cn et. 

_ blue silk Rebbon. Around hher neck is a of Miss Kent seen in profile to the left and Lady Glencairn was the second daugh- 

| string of amber beads, Her dress ig of a | against a dark background. She has the; ter of the tenth Eatl of Buchan. In| 
iNelose fitting ‘blue silk. Over the neck and]! Lawrence complexion of “milk and roses, ’| 1770 she married William Leslie Ham- 
Shoulders is a fichu of transparent lawn]! brought out the better for her dark hair ‘ton, who died in 1780. She remarried, 

and at the waist a searf of light silk ma-| with ifs golden brown lights, The dress is ii 1785 the Rev, John Cunfingham, #ae 
terial, There is a glimpse of a dainty) \lute, With a large, V-shaped opening 3 tama tne fifteenth Bart of lone ame 
‘white underbodice at the neck, and again| the neck. A golden yellow drapery is Ly tag Fane Hiatnitsnc ein Bate 
‘Gn the inverted V, where the blue outer! thrown over‘her right shoulder and arm. Peseta date nasialy Fall Cunning: 
"hodice is cut sharply away and edged with) The right hand rests oma light red drapery ham twice ald twice as Lady Gleneairn. 
' eat n. . MS, sai] : COV s tk ack o: ee . we Ne reo By der eae 
' white silk ribbon, the blue garment van | up 4 a art amen He. cine . ALES fs. PO. cit tiuma npmr diver: Aen 
pening at the waist beneath the scarf. The Leos ie ie a S ; Bie dav iageee ahd ein Ay 3 and 8, 1788, and if it.seems unreason- 
‘background is brown. ‘Che portrait was i|Romneys, which will be apt to divide the able to suppose that he could have pro- 
formerly at Cote House, Lambourne, jadmiration of the, visitors. Of these iN daha Pie fall lonwbhcmewbrait. of Renae 
| Berks, England, {duced this i Pp 

S, ! 


is the swoject of the Reynolds which was 
painted in 1758. Miss Morris is presented 


Countess. of Gleneairn, certainly is one 
of the most beautiful. things that came 
from Romney’s easel. It is a question ifs 
even for beauty, it would not hold its 
own with any of the Lady -Hamiltons. 
If one can imagine one of the classic 
Graces transferred from ancient Greece 


——e 


= 


~~ 


— — id 


1 
t 
if 
i 
| 
i 


Lost € : COUNTESS OF . 


lady is not fully established.» There are, 


be two others of her which Romney 
| known to have painted. . In feature 
somewhat resembles the Miss Ra- 
mus whom Romney also painted and who 
| Will be found persistently entered in his | 
diary as Miss Remus—not Miss Benedetta 
Ramus, whom he also painted, but her 
sister, who became Marquise de Noailles. 


_ Another beautiful. Romney is the group 
the Willett childrén. It shows the three 


_two girls are sitting on the ground, 


the deep tones of a group of trees behind 
‘me The boy stands at the left. His 

ands are thrust in his pocket “and his 
olé attitude is one of boyish self-reli- 
; Feld 
ilk with a white fluted collar, white stock-|| 
mgs and shoes with buckles. The little 
firls hold hands, ‘The younger looks out 


indeed, differences between this portrait! 


) 


Hea, " : 


GLENCAIRN 


by TROMNEY 
two. Hines, his familiarity with -her,of the canvas with head aightly inclined, 
from the many previous sittings should| er expression a bit mischievous. 
be borne in mind. ‘The catalogue of thej°lder sister looks upward. 
Pxhibition states that the identity of the) in the collection a small life size head of | 


j Lady Hamilton as. a Madonna. 

As Mr. Jaccaci, says in the catalogue 
prepared for Mr. Borden, the assured and 
ee manher of presentation with)! 
which the portrait group of the Willett] 


to the @ubject as to be part of it; and, 
while the grouping of the children might | 
iseem casual, it is in 
| thought. out and most effective. 
| Jaccaci also characterizes the “Countess 


‘of Gleneairn’’ felicitously when he says | 
\ehildren, 4 brother and his sisters, in a | that the Jady has “that unaffected grand 
ltiadaonpe background with an evening sky.\|2i2 Which is what. eighteenth century 


patrons desired and what remains to us 


{8 leit white dresses brought out against]|] #!so a large part of their appeal.” 


The Borden Hoppner is that artist’s 


portrait of Mrs. R. Arbuthnot, a three- | 
quarter length, seated in a landscape Hepes 


a tree, the fate turned to the right. 


His costume.is a reddish brown |} costume of old gold casts a soft golden} 


tone over the entire canvas, and the skirt, 
sweeping. around and back to the left, 


jmakes a beautiful, curved line which the 


this flock, 


jof movement. 
\that ineffable pathos of yearning with) 
|which Millet so often imbues the expres- 
\sion of his peasant faces. For although) 
|the shepherd looks at his flock he yet 
Jseems to be peering beyond it into a not 
joverprosperous or happy future. 

jrising prices for American art by recently 
jsecuring $12,000 each for two Wyants 


The |f} 
There also is| 


children.is handled is so thoroughly suited | 


reality carefully, 
Mr. 


eye follows with delight. vi oe 

Of representative canvases of the 
French school, especially the men of 1830,) 
the Borden collection has many. There} 
is a Millet in which the one figure, al 


{though standing perfectly quiet, is sug- 
| gestive of both strength and potential 


action. It is “Le Gardeur de Moutons’— 


ia shepherd in the foreground standing in 
ithe. shadow against a rock, both thands 
|resting on his staff, As stated, though 


standing perfectly quiet, the figure which) 
Millet ‘has painted suggests strength and 
the long stride of a guardian following 
Few quiet figures could con- 


At the same time it has 


Mr, Kirby having contributed to the 


jand $16,500 for an Inness, it would seem 
jin order to call attention to the fact that 
| both these American masters are repre- 
sented in the Borden collection, It con- 
tains, by Inness, two “Sunsets,” one of 
them bracketed ‘‘Montclair,” and a can- 


vas by rile hghits “The Approaching Storm.” 
GUSTAV KOBBE. 


"BORDEN PICTURES ON VIEW. 
a Countess of Glencairn,’”’ by Romney, 


One of the Notable Paintings. 


The Borden collection-is now on view 
land will be sold on Feb. 13, 14, and’ 15) 
and after that the gems of the Talmage) 
‘collection come in sight. . 

At a season when 10,000 interests press) 
‘upon the attention of each of us a, eriliG 
thas little room for the infinite riches of, 
ithe Borden collection. Even to-day, when, 
‘great collections are dispersed and reas- 
‘sembled 'with the dexterity of legerde- 


| main, this gathering of pictures, the qual- 


tity of which justifies their fame, makes a 
ideep impression. 

| Leaving a half dozen of the most signif- 
licant works for a later discussion, among 
them the very important ‘‘ Lucretia Stab- 
‘bing Herself,’’ by Rembrandt, we find an 
‘extraordinarily large number still remain- 
‘ing which must be taken as examples of | 


fpronounced importance. 
The eighteenth century. group includes 
two, portraits: by Romney, one of the 


Countess of Glencairn, which was.in the 
exhibition of Old Masters by Knoedler 
last year and was noticed at that time. 
It is a life-size full-length portrait of a 
| beautiful young woman standing with her 
right arm resting on a high pedestal and 
the. hand raised to ner nead. Her left 
hand holds back the folds of her drap- 
eries. Her haiy is auburn and her gown | 
white, with a dark. blue sash. » A scarf} 
i soft purplish pink hangs over her right 
arm. It is painted in Romney's Classic 
ached with less of insipidity than he is 
apt to mingle with his ample appreciation 
of feminine beauty. The other Romney is 
of the Willett children, a brother and two 
| sisters, against a landscape background, 


A | 


with an evening sky. The color is warm 
and the characterization blithe. Mr. Juc- 
1 caci said ef it in his notes for Mr. Bor- 


den’s catalogue: ‘Its composition seems 


See RSS Os 


Apa «Sheed its /¥eehHIgue; both 


being born together by | 
ce. yy - 


hothe: He Sy well known to New 
k through its exhibition at Knoedler’s 
the *‘ East Cowes Castle, the Seat of 
Sh, Esq.—The Regatta Bearing to 
rard.” It is an example of Turner's | 
be sitereyt in every taing per = 


s and rigging is executed in his | 
ant moo e yachts are sail- 
gh a broken sea, with a vast 
af e foreground. A guardship is} 
ed at the foot of the cliff on waich 
Stle stands, and’ the entire region 

floating 
bright sunshine. <A stiff breeze 
and the motion and brillianey 


; with small boats and 


ring, 
1é scene are vividly suggested. 
ine of the fine examples of the nine- 
nth century French school is Troyon’s 
\pproache de |l’Orage,’’ a Summer sky 
|-with threatening clouds, darkening 
ently.rolling country. In the} 
istance are cattle. and their at- 


io dis 
amt peasants. The landscape in this 
s monopolizes the interest of the pic- 


and the cattle play a secondary 


* 


vom 


a 


ae ACs a 


‘| with reference 


'werp period, about 1830, 
i The background is gray. 
tof this «spicture,: 


| number 
jeenth century group, besides those already 


Srv 
A very different type of landscape is 
seen in Hoebbema’s “ Castle Kostverlo- 
ren,” which was shown at the Hudson- 
Fulton exhibition in 1909. This great 
and cheerful master spared no pains to 
nia his public. Not a square inch of 
any picture painted by him but is filled 
with Re teul detail, carefully considered 
to the whole coniposition, 
so that there is. no sense of a dissipated 
impression... The charming walks, the 
busy people, the well-studied trees, the 
ample architecture, give a sense of physi- 
eal well-being and invite the observer 
toward an enjoyment of nature. The 


‘eloquent little pertrait of Caspar Sibelius, 


by Frans Hals, also was shown: at the 
Hudson-Fulton exhibition. 

Of Van Dyke there is a ‘' Portrait of a 
Gentleman.’ from the artist’s second Ant- 
a three-quarter 
length figure of a man with a small, 
pointed beard and an effeminate type 0 
face. He is in black, with a white ruff 
and a cloak thrown over his shoulders. 


still catalogued as, the 
original, is in the Douai Museum. ” 

Of portraits ‘of fair women there are a 
of special. charm. In the eight- 


i mentioned, are Gainsborough’s half-length 
portrait of Miss Horde, a, marvel of ex- 


a Ni ~ 
oe 
fe 
f He 


A late. copy | 


quisit® daintiness™ and beauty orvexecu- 
Gant and here again execution and sub- 
ject seem one and inseparable. The play- 
ful, witty expression of the sitter, her air 
of elegance, her modish costume, with its 
deceptive look of simplicity, her. keen in- 
telligence—one feels that Gainsborough’s 
brush skimmed the canvas in sheer gay- 
ety of mood confronted by. this charming 
apparition. 

‘Miss Morris,’’ by Sir Joshua, is a differ- 
ent problem, serious and truly simple, and 
with kindness radiant in her expression, 
this is one of the most ingratiating of 
Sir Joshua’s sitters, and he has paid her 
the compliment of employing a peculiarly 
straightforward sincerity of method in de- 
picting her. 

‘““Miss Kent,’’ by Sir Thomas Lawrence, 
is in an entirely different vein, but it is a 
good Lawrence, handsome and clever, un- 
inspired and uninspiring. ‘Phen comes a 
later, English portrait, the child holding a 
pet bird, by Sir John Millais, a late work, 
and pretty and sentimental to the point 
of affectation, but wonderful in the shin- 
ing purity of its color, the absolutely un- 
dimmed freshness that we find in the 


| masterpieces of those painters who once 


were: pre-Raphaelites, 

The other schools and other paintings 
we must leave for later notice, as all call 
for more than cursory mention. 


az Borden. Pictures Bring $797,050; 
130,000 for Rembrandt; Turner, $105,000 


2s mam 
LUCRETIA STABBING HEIeSELF 


a 


éy_ IREMBRANDT PS EL, 


‘American Record for Art Auction is Broken, the Big Night’s Receipts of Yerkes Sale Being 


~ With a total of $797,050 for forty-two 
‘pictures, the first half of the auction sale 
‘of the art collection of the late M. C. D. 
‘Borden at the Plaza Hotel last night es- 
tablished a new record for sales of paint- 


Hotel by $6,000. 


ings, surpassing by more than $6,000 the 
so-called “big night” of the Yerkes sale, 
when the proceeds were. $791,000. The 
highest priced picture was Rembrandt’s 
“CLueretia Stabbing Herself,” which went 


Surpassed at Opening Session of Borden Auction at the Plaza 


M. Knoedler & Co. for 


The next highest price was for 


to Messrs. 
$130,000. 
Turner’s ‘{The Regatta Bearing to Wind- 
ward,’ which went to an anonymous bid- 


der, represented by Mr. W. W. Seaman, 


) as}| in an Tape” ie 
vines “was nus Van Ostade, “eames Before an Inn;’ 
the Agnew Galleries, of Lon-|| 


CORR a meme ee eae eee bee nesenae ? 


| work, dm which the-subject i. idealized. met ater eo 

le was held inthe ballroom: under Hoppner Brings $60,500. ER Ge Pouring Wine;” Klein- a act 

s of the American Art Associa- Another record was established when | van Ostade, ‘Backgammon Players;’ Mr 
oa i fo Th 0. Kirny: aiding , Messrs. Scott & Fowles paid $60,500 for Bite R. Coe... ihe “ity | Tanascape With 


Hoppner’s portrait of Mrs. Arbuthnot, a 
<5 od crowded by a fashionable | lifesize full length representation of a 
re > than fifteen hundred per-| young woraan partly sitting and. partly inebeeal Visas . 4,100 

ent, and more than as many| kneeling and facing the ‘spectator. Her Se “Grand Canal;”, Scott & Bowles. 300 
ble to gain admission. ‘The| right arm rests upon a rock at her side Poe Piasre, of San Marco”) Scott & 


Meta Myr. 2 J.-E, ee Op Male da eee 


i f : ‘ Bowles). 4.7) elec ae ce 5,000. 
-and rocks and trees m ..|, Wouverman,  ‘‘L’ Abreuvoir;’? 1 
ie paaretion, forty paint-| Pom hehind: ‘her: ii . a pare check Mersch ... Bios ee 2 2,500, 
er trace, turned | Cuyp, “The Mussel Eater;”* Mr. ‘EB. “Thomas, ' 
toward the left, wears a pensive. expres: agent © 6 0 Oe 6 eo wie 6 6 00 8 oe 010 Se 6 Gis 6 eles se susle 2,700 

non, Hobbema, ‘‘Castle Kostverloren;’? Messrs. 
eg ; Ao sts Scott. & Woweles sic cng oot eee se-- 1,600) 
Still another record was made when! tee vices, “The Music Party;"? Messrs. M, 

th OD! 8 1 0 Wilks Fade 'e ae es erp ene ae ee 
0c ond price fen sa shasta Mr. C. K. G. Billings paid $55,500 for Millais, ‘The Pet Birds) Mr. W. Woseas to 


“The Willow Tree,” by John (Old) Crome, 


IMAN,, AEENT, ia. ais s aclaaiela en cia  eeeee 7,200 
fe Deautifal old Haglish landscape. The 


Neuhuys, “Mother and Children;?’ 
Cottier & Co ee ai 


Co CSO On 6 0 6s 06 86 bees 6 we sles so 


_ |pustic bridge, and on the right bank of] Among ihose present wore Air pe 
||the stream’ a man on a pony is talking to| broke Jones, Mrs, J. B. Trevor, Mrs. Mor- 


uplifted ‘left is extended in. the | country woman. a K, Jesup, Mrs. Frederick F. Thompson, 
of | the spectator. ‘The appeal ‘of | ‘A tiny Frans Hals, “Portrait of the). 2nd Mrs. W. E. Benjamin, Mr. and 


E Mrs. Daniel G. Reid, Jud 
| face is strong. The work isin, Rey. Caspar Sibelius,” was bought by|Moore, Mr. and Mrs, Verna CBee 
t's golden pine and ‘the ‘tech 


d for $28,000. . ee | es rising on the banks of a brook which ae eens sees “sin Bae 

of Lae 7 ath al f I . is ost fills the foreground. - At the foot De LAME. oss ws eee [ee cb < oe os 3 8,600 

. se eager clasped in [Of the willows is a bit of fence beyond a) IGIREE, “Te Advent Me ear 7 
hand is pointed at her breast 


an anonymous collector, represented by|Mr. and Mrs. W. R. Coe and Messrs, 
Mr. W. W. Seaman, for $45,000, a sen-| George R. Hearn, Henry Walters and 
'sational price considering the size—10%4| "27% B. Smith. 

b ab ete: Among the pictures that will bbe sold 
y 8% inches. This is a half length por-|; ight will : 
trait, representing a clergyman with a pier Wi Me MiB Oy Works OF (ie ame 

zon and as American schools, 

book in his hand addressing his oe 

gation. 


; ‘A Reynolds for $26,000. RECORD: PRICE FOR 
Sir Joshua Reynolds’ portrait of Miss; 


‘Morris, went to Messrs. Scott & Fowles | 
for $36,000, This is a life size bust REMBR ANDT $130 O00. 
portrait of a young woman whose expres- 3 ' 
sion is simple and girlish. Her eyes are ? 


‘dark blué, her hair is dark brown, plainly 
combed back, and she is dressed in a gray | 


re rs s “Regatta” ‘does not Salevlish 
“new auction record for this’ pictures, his 
s and Blue Light” in the Yerkes 
“pied brought $129,000. In 
g Turner's usual lurid colors 

it. It shows yachts sailing 
ugh a mepken' sea, with a big swell in 
: ie eground, and in the distance a 

ellow cliff, wise Hast Cowes Castle 
. Sunlight flecks the sea and sails.| 
W dscene full of spirit and movement. 
n the sale of “The Willett Children” 
i "$100,000 a new Romney auction rec- 


First Session of M. C. D. Borden 


| was ‘established here. This is a- pict- ilk robe. The background is a sky tispied | Art Collection Sale Nets 
| ‘of glorious color and is the portrait! conventionally. Z 
j of three children, a _ brother aia: eg pA A Sir Anthony Van Dyck, “Portrait a $7 97,050. 


“with 4 ja Gentleman,” a man with a pointed) 
h an he i ky. ay Sen beard and wearing a white ruff, went to: ; ¥f 
‘2 he boo dicks dressed in white, an anonymous buyer, represented by Mr. | ‘TURNER BRINGS $105,000; 

a ee groun W hand in hand | Otto Bernet, for $26,000. aes Se nal pS eka et Pat 


‘ i s “Portrait of Caroline Anne Horde,” 
: while the boy stands at the left, his long lyoung-woman with a very wise and sophis- .. [Romney Portrait Fetches $100,- 


and curly hair framing his face.| 
4 ha a | ticated expression, was bought by Messrs. | | 000 Eelipsin Record—— 
ee Pe pecktis, is 'M. Knoedler & Co. for $10,000, Law- : ; ‘ = A 
Other High Prices. 


{ 5 ititude ee er) hoslah< sete jrence’s “Portrait of ‘Miss Kent” went to, | 4 

i a Another agtonzetd Sold. aioe ete “ Mes a hee: 1 | Meee & | 

Romney, his eae se ee” Ae aaa: o Ce | Many new records were established) 

* by St. Jerome,” went to Mr. A. A. Ander- ‘jast night at the first session in the, 

5 of | ep also brought a record|| 1 for $18,000. Jacob van Ruisdael’s ballroom of the Plaza Hotel of: the sale 

€e for this pictures here_ at auction, jl «The Cascade” was bought by Dr. A: Can- of ‘the great eee of paintings 
$57,000, “the purchaser “being thelisi.jq for $10,500. A beautiful Greuze, | formed by the late-M..C. D. Borden. 

_ Agnew Galleries, of London. This pict- “Innocence,” showing a young girl holding| The Rembrandt fetched the highest 

lin her arms a lamb, went to Messrs. W| price of the evening, Knoedler & Co.'s 


Pe is an object of special interest to 

-of Scottish extraction, includ- Gimpel & Wildenstein for $13,000. | bid of $130, 00e taking it. The Turner 
ing Mrs. George Kemp and her sister, Amdug tle Lesder Pictures, painting of “The Regatta, Bearing to 
, Miss: Flora Torry Wagstaff, who are col- Other paintings, with the artist’s name Baers tone eae Sto ni ae wa 
lateral descendants of the Glencairns. 1t first, then the title, the buyer’s name and Peace Penn ae the aa Tillett children 


nation sie 


is a life size Portrait of a young woman! |the price, were sold as follows :— was sold to the Scott & Fowies Company 
: Stands in an easy pose, with her ae Velde, *‘Calm Sea;’? Messrs, . Seott for an even $100,000. 

; ‘ ; RS BQ WEST Sil ie'cis an a cin a eae a ee hoa Jai rac : ; 

tight knee bent and her right arm resting nocanr on ineanene teens Gogare*. Mr $3,500/ The bidding was quiet and unaccom- 
upon a high pedestal. She has “gaara W: W. Seaman, agent. ...;..0:07.0..-.. 4,100} panied by the usual tense excitement 
hair, warming to auburn tones, and is' Nee Reig “The Sluice;” Otto Bernet, that prevails when a masterpiece of art 

AONE | erate a eins a. te'ot’sial wis Rip RRM E NS, gS ah tae re Fart : 

attired in a simple white dress, with ott Alma-Tadema, “Unwelcome Confidences:” | changes ownership at public auction. 


urplish ape i it ses vi a bid of 
|p -pink dr ry. Messrs. M. Knoedler’& Co.i,3.h.-):..... 2,800 The Rembrandt began with a 
— ay Teniers the Younger, ‘‘Woman Smoking | $75,000 and mounted rapidly with huge 


free 


ee 


n chis ieee was $85,000, paid 


c ale 
imired er, which fetched 


said not break a record. His 
’ and Blue Lights” hes that 
action, sold at the Yerkes sale for 
0. The Romneys, the Hoppner 
eee Crome, however, eclipsed 
t previous prices. No Romney 
‘equalled’ at auction the 


he Old Crome’ landscape at 
. 0 also make new standards. 

he total for the night’s session 
| $797,050, the greatest sum ever 
c at a single session in a picture 
OY. e 


a a ty 1S A Nr a ERT TI Tis SOP 


ke ues 
‘ and price, follows. 


Edinbur; hh from Gogar: BE: 
Seaman, 5 aaa $1,190 
relde, Calm Sea; Scott & ei 
» The Sluice, Otto” Burnett: 2,190 
Unwelcome Conf 
Mncediat & Co.......----+ 2,800 
Pthe Younger, Woman Smok- 
n @n Inn; a oN Se C0. 5577 2,150 
n Ostade, Peasants before an k 
Van 0: berger Gallerfes........ 4,100: 
: e Cliffs at Dover; R. M. Ve50 
oe oe S ser eoseree yodoU” 
nan, the Sutler’s ‘Booth; Dison i-8 
& ‘ES¢! ee icc ic 8,500 
, Lady Pouring ne; Klein- 
EE STE EOE Oe ~$,100 
is Hails. The Reverend Caspar 
Nal a We W. Seaman... 0.25.) 45,000 
| a Van Ostade, Backganrmon 
| layers “at an.Inn; W: R. Coe... .. 4,000 
a. : ynants, Hilly Landscape; Ae oe raub 
jioriand, Rustie Beene: A. hale 
31, vA Waterfall: Bon Mallinek+ 
: See emer ese nr ewe sass e are 4,100 
ANCESCC 9 Guard The Grand Canal 
ee of San Marco, 
iets Dai WOW less sors 4 <3 vis 4,200 
‘Prancesco Guardi, The Piazza of San 
“4 “Marco, Venice; Scott & Fowles.... 5,000. 
Leet L’Abreuvoir; Dr. Paul sire 
1368 + Lady Hamilton, as 
ydonna.; sesien Galleries, < a.c0. % 2 12,300 
on Innocence; Gimpel, & | Wild- wee. 
ran Si ep Ro ae a 13,000 
homas Lawrence, Miss Kent; afr 
Scott: eg Ae oc oes PEABO 
Portrait. of Caroline 
g + Knoedier & Co-..... 19,000 
ei Bos Miss Morris 
ard Mrs. Liockwood); Scott 
sie fy. =< 86,006 
“Cuyp, The Mussel Eater; E. 
ee eet UOT Ge sp ase he sn ooo’ ois 2,700 


ema, Castle Kostvertoren; Scott 

MP IGS. 62 ok ey « ees sete ey #6000 
9i@ter Ge Hooch, The “Music Party: : 
MMAR Iar Re OO... kei ecvensces sss 5,100 
i een The Cascade; D. A. Can- 


| 
iT te Teo. 4. i 8+. 10,500 
van Dy ek. Portrait of a Gentleman; 
| ReOesuSuett, aAment....54........ 26,000 
brandt, Lucretia Stabbin& Her- 
y | self; Knoedler & Co.......:,..... 130,000 
| Turner, Hast Cowes Castle, the Seat ; 
of J. Nash, Esq.—The Regatta 
_ Bearing to Windward; W. W. Sea- 
: man, I ee cs gh ss esas + 105,000 
Alma-Tadema, Conversion of Paula 
: wae St. he “A. A. Anderson... 13,000 
i ais The Pet Bird; W. W..§ Sea- 
INR Ma tel cut a ctis\ esa W646 %"¢ aia’ 7,200 
bn. Hope, Mrs. Arbuthnot; Scott 
. A ica tx. <<... ° 60,500 
4a Bee Crome, The Willow Tree; C. K. 
_G. Billings........ Ss Bb, BOO 
; aney, The Willett Children; Scott 
gg sce esse cess. 100,000 
_ (Romney, Countess of Glencairn; Ag- 
| | new Com aT hc ic) si ctaeets otis eae) O15 0.00 
| ‘Albert — Neuhuys, Mother and Chil- 
Mummrererattier & Co.:..............  , 2,100 
| Anton | “Mauve, Winter Landscape; 
| Boussod, Valaden Company....... 5,900 
| A. Dieffenbach, The Foster 
| “Mother; Wire SCAMAN. . 066. 54.5 - 32 
. August Siegert, The. Old 'Grana- 
1 mother; Miss EH. R. Wellington.... 525 
i Carl Joseph Litschauer, The Coun- 
; Srerreiters: |. Thomas........c- 750 


udwig Knaus, A Bavarian Holiday; 
| Met, Delanmiar.. aw .ci.. 02.55.5006 8,600 
. Saga von Defregger, The .Adven- 
| tere; Henry Schulteis............ 5,000 


at pata last night for his’ group 
i Children,” and the Hopp-_ 
, of Mrs. Arbuthnot at $60,- 


list of paintings, with title, pur 


& 
: nee a 


050 FOR 49 Ol PAINTING 
REMBRANDT ‘BRINGS $130, 00 


The. first—“*The° Willett 


—was sold to Seott & Fowles; 
Countess: 
Agnew, 


paintings. 
Children’’— 
for $100,000, and the second— 


All kinds of récords were smashed at 
the first session of the Borden sale of 
ipaintings conducted by the American | 
‘Art Galleries at the Plaza Hotel last’ 
‘evening. Forty-two oil paintings sold 


f 


lof Glencairn”’—went to the 
\Galleries of London for $57,000. 
“Mast Cowes Castle, the Seat of 5 


for $797,050, which is, according to the | | Nash, Esq.—The Regatta bearing to 
statement of an important dealer, a ‘Windward, " by Turner, was started: 
iwith a $50,000. bid and was seeured 


{ * ci o E 

new record oe  obabeiate e alae ; iby W. W. Seaman (agent), for $105,000) 
Rembrandt's “Lucretia Stabbing Her-'|The lovely portrait of “Mrs. Arbuthnot,” 

self” was started with a bid of $75,000 by John Hoppner, jumped by $5,000 


jand was finally sold to Knoedler & Co: pate by ge oe after reaching $60,- 
‘for $130,000. It went to Scott and Fowles for that 


was mentioned that 
‘ amount. This was a n a) 
| this was. the highest price ever realized |Hoppner. Taek ‘ ow revert 


for a Rembrandt at public auction. 
| ‘Two Ronuteys Buneane 2 000. John (Old) Chrome Applauded, 
“The Willow by John (Oldy 


' Records wers also broken in the 
Chrome, with applause; 
i 


prices realized. for the two Romney} 23 coamaagla af 
; [and it, too, made a record for its au+ 


Tree,” 


* 


inedsosiante 


x. 
[is 


eased 


as gs 5 


3 miugw syns 


PMI TERE OE TS 


== 


it sola for $55,500 to 


ing 


10% inches by 8% inches, 


sold to W. W. Seaman for $45,000, 
Morris,” by Sir Joshua Rey« 
was applauded when shown, and 
| bought by Scott and Fowles for 

: “Portrait of 


ert 


rol _  Gainsborough’s 
‘Oline Anne Horde” x»vent to Knoed- 
’ Company for $10,000. 

ys. “Lady Hamilton as -Ma- 
as bought by the Agnew 
es mere 
a 


secured two-examples 
works “The Grand Canal Near 
riaaza of San Marco, Venice,” 
Gis $4,200, “and “The Piazza of 
Baa hers Venice,” $5,900. 


7 fuar > ie 


-~& Wildenstein for $13,000. 
m this pictute was first sold it 
izéd 31,000 francs, or $6,200. 

) “R. Coe, son-in- law of the late 
Bee Rogers, paid $4,000-for Adriaen 
ée } inn,” and Izack Van. Ostade’s 
usants Before an Inn’ went to the 
bs berger Galleries for $4, 200. 


Othe Important Paintings. 


ae other important 


“scatm Sea,” by Van de Velde, sold to. 
'Scott & Fowles, $3,500; “The Sluice,” | 


| By. Constable, Otto Bernét, $2,100; 


“Unwelcome Confidence,” by ‘airs Tee | 


“Woman 


dema, Knoedler & Co,, $2,800; 


king in. an Inn,’ ‘Teniers 
ungers, Knoedler & Co., $2,150: “Cliffs 
‘Dover, by Turner, R. M. Parker, 
650; “Sutler’s Booth,” by ‘Wouver- 
man, pr. Paul Mersch, $3,050. 


“Lady Pouring Wine,” by Terbosch; | 
“Rustic | 


Kleinberger Galleries, $8,100; 
ne,” by Morland, A. Benziger, $2,600; 
Waterfall,’4by Ruisdael, HE. Maillin- 

deeeae $4,100; “L’ Abreuvoir,” 


$2,700. 
“Castie Kostverloren,”’ 


Seott and Fowles, $16,000; “The Music 
Party,” by De Hooch, Knoedler & Co., 
$5,100; “A Cascade,” by Ruisdael, Dr. 
AL Canfield, $10,500; “Conversion of 
Paula by St. Jerome,” by Alma-Ta- 
dema, A. A. Anderson, $13,000: “The 


$7,200. 
"Winter Landscape,” by Mauve, 
Boussod, Valadon Compeny, $5,900; “A 
Bavarian Holiday,” by Kraus, Captain 
Ji &, De’ Lamar, $8,600; and “The Ad- 
venture,” by von Defregger, Henry 
Schultheis, $5,000. - 

The sale will be concluded this eve- 
ning at the Plaza Hotel. 


000 AT SALE 
“ORBORDEN PICTURES 


Rembrandt's “Lucretia Stabbing 
Herself’’ Fetches $130,000— 
High Prices for Other Works. 


Ne 


A TURNER BRINGS $105,000 


, 


GK G. 


us Re re gerne of a Gentle- 
why Van Dyck, was sold to Otto 
agen‘), for $26, 


. only Franz Hals in the collec- 
averand Caspar Sibelius,” 


for $12,300; and Sir Thomas | 
nce’s “Miss Kent” went to Scott 
Be wes /for $14,500. -This last-namea 


of 


=, innocence, * by Greuze, was sold to] 


Ostade’s “Backgammon Players at 


items were: | 


the | 


Dy, ; 
Wouverman, Dr. P. Mersch, $2,500; “The: 
Mussel-Water,” by Cuyp, E. Tho'ifias, 


Hobbema, | 


Bird,” by Millais, William Seaman, | 


| prices for 


Romney’s ‘ The Willett ‘Children. re 
Sold for $100,000, and Hoppner’s 
‘“(Mrs. Arbuthnot” for $60,500. 


—_——. 


Last night was a record breaker in the 
history of pictures sales in this country, 
nearly $800,000 being paid for forty-two 
pictures, the biggest single evening’s sale, 
These were the pictures of the late M. C, 
D. Borden, the wealthy cotton manufac- 
turer, sold at the Hotel Plaza, under the 
auspices of the~American™ Art AssoOCia- 
tion. 

Tt was a record-breaking sale in many 
ways. It brought the highest price paid 
for a Rembrandt at any public sale in 
this country, $130,000; record-breaking 
the two Romney portraits sold, 
for Hoppner’s. portrait of Mrs. Arbuth- 
not, and for John \(Old) Crome’s ‘ihe 
Willow Tree,” which went for 5$5,500. 

There was a large gathering of distin- 
guished people attending the sale, although 
the buyers were most of them Licup eee ecg 
bx agents, and raring of admission wer: 
refused to more than 3,000. people who 
would have been § ip to have been there 
if it had been. possibile. The ballroom of 


the Plaza was arranged with boxes on 
three sides, ef the room. These ‘were 
crowded, also the galleries, the floor. and 


many people stood. throug hhont the even- 
ing. 


The sale was a short one, the pictures 
bringing the biggest prices runnin*® up 


point quickly and with big 


the selling. p¢ : , 
being disposed of in time 


and 


ta 
jumps, 


i hi ns eh 


Coie Castle, the Seat ot J. Nash, 


| two 


hatry, 


Lucretia Stabbing Herself. 


aiite Suit of propor tion to the? money they 
represented. 
fide 5 second highest price of the sale 
3 given for a Turner, $105,000 for ts ast 
Sq.-- 
Regatta Bearing to Windward.” This 
the third highest price for a Turner 
The famous “Rockets 
»- of the Yerkes sale 


the 
Was 
in. this’ country. 
and Blue- Lights 
brought $129,000. 

“The Willett Children,’ by 
little girls seated ana a boy stand- 
ing, a picture 59 by 47 inches. brought the 
third highest price of the’ sale and broke 
the record for a Romney, bringing 
000. The second Romney was also a record 
breaker, the “portrait of the. Countess 
of Glenecairn,” a life-size full-length por- 
trait of a young woman, leaning "against 
a high pedestal, bringing $57,000. 

The portrait of ‘“‘ Mrs. Arbuthnot,” 
hfe-sized portrait of a youTrg woman 
der a tree, resting one arn: on aA 
by John Hoppner, brought a 
for the work of that artist 
$60,500. The Old Crome: “ The 
iow Tree,’ showed a large old 
tree outlined against a bright blue 
mer sky, and there. was applause 
it reached the selling point of 405,500. 

There was much interest 
tively little applause during the 
Wuzz. of voi as. the “pictures 
knocked down showing the close attention 
with which the sale had been followed, 
The first and perhaps the most enthusi- 
astic applause was when Thomas i. INtre 
by. the auctioneer, appeared to make the 
record sale of his life so far. The ¢ol- 
jection of eighty-two pictures was, he 
said. the finest ever offered at public 
sale in the history of the country. 

There was appla ise when the Rem- 
brandt was shown, Lucretia Stabbing 
Herself.’ The figure of Lucretia is of 
more than half length, the dagger clasped 
in ker right hand pointed at her breast, 
the left hand uplifted. The gown ts of 
a. rieh greenish gold with a laced bodice. 
There is a necklaze of pearls about. her 
throat, a cord with a jeweled pendant, 


tomney, 


the 


Sum- 


sale, 


IOS 


$100,—' 


un | 
rock, | 

record price! 
in this coun-!} 
EV ile | 
willow | 


when | 


but compara- 
the } 
were, 


y 
ae 


a short sale, | 
e evening. 


ay was a ‘reverend | 
cap ia outstand~ / 


ic $2: 


‘some. The 
ns Hals’s’ “ 


; Lamhe 2 oun 


Las of the, boxes 
e io “Judge and | 
ae “Mrs. | 

ris a Oar | GESUD, | 
Apson, Mrs. Pem- 
W. ©. Benja-: 
jel. G. Reid, Mrs. 
Iters, © and Harry 


ero es of | risitors to 
t alleries to 
ives. Wednesday, the 
hey were on exhibition, 
persons visited them. 
é list of forty-two pict- 
sof artists, pur- 


rick Nasmyth: 
ae +77 . 
ve Velde: Scott 


y ieapie: ‘Otto Ber- 


wae Op TS TRC re a a ee id 
len ea Alma- Tadema; 
i n—Tenicrs, the 


cptawee eeu er ee 


$1, 160 
3,500 
2,100 
2,800 
2,150 


t — ya QOs- 
teh Sack van 4100 


: ac 


ee eS 


Ni sted oer earn £,690 
ST ee ale Ni'a,\6 «+ 3,030 
a ayia ie sce 8g 8 HO Fee §,100 
“Sibeliis—rats Hals; 
J ABONL. civ ee yee eee 45,000 
Ta at ‘ns ay ot He 
-in-Jaw 0 
«Coe, son. in 


Lids bie sme ke 6 8 ek ep 9 Oe 


1,600 
2,600 


eT Me es ebha eo mre oF *' s 2, = 


‘ we ys 
Sore" Morelana: » A. Ben- 


PTET oe A a ee 


4,200 


pa bee « ¥ ol) ew se bo 8 yo 


a Se a 


2,500 


ee Genera sim le) 8.4 fee 3p shes oe ars 9 8 Y 
mi ton ‘as Madonna—Romney; ‘ 


Galleries, London....-..-.---- 12,300 
r Thomas Lawrence; Scott 

IE aa ila o/s sp a's Rive es 2 14,500 

2e-—GTeUze ; Gimpel V. Wilden- faa 


aS. 6 te wale, 0d 6 0 or 9s. 


. 18,0 


ie Sie 9 ene ey 04 & Ane 
oe. Saale ee aye +6 pS ieee, 2 & 
Sas oweewe eae 


we eee Bape ye we ee eee 


Rs Be ae Me ah ao i pi 


3 oOr- it 
me ate a5 Terk: ; 


d running 
Van. f 


4,100 


5,000 | | 


* 40,000 
36,000 | #elf for his disappointment in losing the 
2,700 
16,000 | 


e,, 


ma Cele Gintie—Pamery W. W. Sear 
sf Paula ay, gt)” Jerome— 
ciel 0 ‘ A. A. Anderson......1 


‘Millats; W.. Wi Seaman, 


Alnia- 
pe eer 


SFG pepe pas) C8 ol wll) OW Ie OF 0) 5 wn iele) ee 08; 


di OR'$130,000; HIGH 
MARK FOR THEUS. 


poe of Collection of M. C. 
_ D. Border Brings $797, - 
050 in Night. 


i 
t 


were sold at auction in the Hotel Plaza 
Jdast night and brought $797,050. This, it. 
is said, is the high mark for one night's 
sale of art objects in this country. 

The most vaiuable picture sold was) 
Rembrandt’s ‘Lucretia Stabbing Her- 


self,” which was bought for $130,000 by 
It was reported’ the | 


C. BG. || 
Billings bid against the Knoedlers for’ 


‘Knoedler & Co. 
‘firm acted for Henry C. Frick, 


this painting. 

This is the highest price ever paid for 
a Rembrandt in this country. The for- 
mer record’ was $51,000, which was given 
at the Yerkes sale, The total sales for 
| the night also exceeded those at the 
Yerkes auction by $6,000, 

The bidding started at $75,000 and rose 
$5,000 at every jump. 
excitement among the dealers and col- 
| ectors, The painting has been exhibited 
| |$aa Londen and Paris and was on view | 
|here at the Hudson-Pulton Exposition. 
| Soon after the painting was disposed 
of Mr. Billings somewhat consoled him- 


Rembrandt’ by getting: “The Willow 
‘Tree,’ by John Crome, fox $55,500, 
‘The sale ‘was held in the grand -bail- 


Porty-two of the paintings in the art. 
collection of the late M. C. D. Borden) 


It caused intense | 


ka and art | [ti- 
eres ‘Peter Broadway Rouss, Capt. « 
iR. ip ‘Lamar; ‘George (A. wets 


Turner's “Regatta Bearing to wee 


AB asin Sk SD = py 
bre ee Come © as.) I geen,” by Romtey, aaa bush ae mmm 

| the wit Children—Rorney; Scott & 1 ong | & Fowles, dealers, for $100,000, Hopp 
arte yan FOOT A yang] Dee portale Of Mra Aaa tam 
i on mat qetee es, a pata 2,100 ‘sentatives of the Agnew Galleries of 
Il iraadous® Co... ~ Mauve: Boussod,  4o9| London paid $57,00 for Romney's “The, 
| The Foster Mother—Diffenbachs-W. W. os Countess of Glencairn” and $12,300. for 
| the Old Grandmother — August’ Siegert; HP] his “Lady Hamilton as Magenna,s Vi 
Miss E: R. -Wellington’....... 06.60.45 525 | Caroline Anne Howard,” a Gains-- 

| Phe, Counterteters — Karl Joseph Lit: | borough, was bought by the Knoedlers, 
A Bavarian Holiday — Ludwig Knaus; for $10,000, and “Miss Morris,’’ another 
pe Raven tee Nig Mes - ‘Hse’ Sehti : we Reynolds, brought $36,000, being knocked: 
000 down to Scott & Fowles. ‘Portrait of 


a Gentleman,” by Van Dyke, was 
‘“pought by Otte Bernec, an egent, for 
| $26,000, and a few minutes afterward) 
ew. W. Seaman paid $45,000 for Franz 
-Hals’s portrait of the Rev. Caspar 
Sibelius. This painting is only 1042x8% 
‘dnches, 

| “Castle Kostverloren,” a Hobibema, 
‘went to Scott & Fowles for $16,000, The 
| Knoedlers gave $5,100 for Pieter de 
‘Hooch’s “The Music Party.” Van Rins- 
dael’s “The Cascade” was pought for 
$10,500 by Dr. A. Canfield. Among other 
paintings. sold were “The Adve. irers,’’ 
iby. Defregger, $5,000; Knaus’s “A. 
| Bavarian Holliday,” $8,000 ‘Winter 
Landscape,’ by Mauve, $5,000, and Ter- 
“bech’s ‘Lady Pouring Wine,’ $8,100. 


BORDEN PICTURES 
BRING $1,244,796 


‘Highest Price Paid Last Night, 
Was $41,000 for a Corot by 
Ex-Senator Clark. 


| 
| 
DAUBIGNY BRINGS $30,000) 


} 
1 remeron | 


George Inness’s “Sunset at Mont- 
clair’ Knocked Down 
for $24,000. 


en eee. 


The second part of the sale of the 
‘Borden collection under the auspices of 
the American Art Association in the 
isrand*ballroom of-thé Hotel Plaza last 
‘might brought $448,675, making a total 
‘for the two sessions of $1,244,725. Huge 
as this.sum may seem, it is not.a rece- 
,ord, for two sessions of ths Yerkes sale 
‘brought in $1,364,500. 
| There was a trifle more holiday spirit 
‘in the air than on the previous evening; 
pictures were applauded more frequently 
‘and warring competitors were accom- 
panied-by an eager buzz_of comment as 
they fought each other with $1,000 bids. 
But no great new prices were achieved. 

Two interesting new records were 
established, however, that are sure to 


—EEEEe OO eee 


c a aA ra or 


Seon 7 nnés’s “Sun- The list Of the pictures, with title, Pavers pO Suemety aweNt. aa NTDOO 
ie cle se sc started with | purchaser and price, follows: Hee an oe Wy bb, bee 
on. 15,000, ce knocked down to ‘Monticelli, “Gourt d@’ Amour; W. R. » dules Dupre, Dat A gt be near VIsle- ; 
‘Waurenzagh for $24,000. This! King .2.c.....0c.- ose oceep eSe! |v Tae eee chen, COMDOny. )e tam 

_a mn the record the $16,000 Sees Romantic Scene; B.C. © 000 1 Hautes, agents 4,200 
mnes fetched at the recent | Fromentin, A la Fontaine; Agnew ‘ ke Mae yy Es 2 Pele spat ce Huts Near ae 
“sal u SOE ROPM er og hi CC aik'g ale eia epae 5,6 i; > AS Sa AY vy 
rie ee = ‘Decampes, . Les Petits Nautonniers; ees meue ce Landscape; Efi, 
Jaumier “Le Wagon de Troisieme POD Eh can Seg et 5,600 Diag, La "Diseuset’ de - Bonne Gh conan 
ure 7 enner, Penserosa; W .. Berans.. 6,000 | e: £ 
hoo aid hased by Durand- Ruel / Vibert, Theological Dispute; W. W. eae Airs. W._G. Ladd. ....... 14. 4,100 
. | Diaz, Sunset Near Fontaineb 
A s is the highest price BSCR INES ES ae wie ele els \a)'a tel cows a00\)p/! jane 6 leh 5,000 Bhrich Galleri lean; 
rid for a Daumier in any coun- | Gegicault, The White Horse; W. W. spo. Troxom..L'Approche de iOrago; tem 
ot previous figure being! Rosa Bonheur, Highland Gattle and AMeendee EL Wekct eh ae oe 
-franes paid for 6ne cf the | Pere ee neers Wn a ine Stora, W.' WW. Seaman...,.. 3,400 
turist’s pictures in Paris in- “Meissonier, ‘A Cavaliers OW. HE) | eeaes epoteeh wien SF 000 
; CU IR PN as oie 07a)" iaily! were 0. 4-6) 6 m0) ee 4) 01435! 0 4,300 | Geotge Innéss, Sunset: y “Mrs ; “wy Coy id 
: Jean Francois Millet, Le Gardeur de f I. sae ee: a oon 
2 Open secret that the Metro- | Moutons; Scott & Fowles....... 22,500 Worthington’ Whittredge, “Scene in 32,008 
Museum of Art was bidding on} Moutons; Scott & Fowles......3, 22,500! Central Park, 1874; Bryson Bur- 
i Boussod-Valadon Company........ 15,200 | roughs mre 
, and after the sale Durand pe he Pool vis sOSB DCN |. MOURNS | oi... 6's as sey sed eye eb ens oem 550 
cousseau, e ool in the Forest; | servis. McEntee, “Autumn Landscape 
logized for ‘its purchase, saying FENGeGIOW Gr COn 6 Skies wiki sarki eae 3,800° | With Figures; Bryson Burroughs 1.375 
dn’t help it. ‘He hated to “bid Rousseau, La Mare a Piat, Foret de Honore Daumier, Le Wagon de Troi- ; 
| Fontainebleau-——Solaii ‘Couchant; sieme Class; Durand- Ruel 49,000 } 
# the museum. He had had com- Pe aia dg io es ya tach ae §,900: | Delacroix, Combat en Algerie: Du- , 
_ | Rousseau, he ool-—Clearin rand-Ruel ...... whem dae : : 
3 from Germany to buy the Dau nem OF S500. ak et . Bee 5 000 Gertsde: | Bonabiees en Egypte: aie 
9 the best he could do was to se- | Corot; La —Cueillette. au Bord -du. | eR Oetler 3&Cos. bos wees 85004 
. American purchaser for it, and Meee gigs Hei Se fat a no 10, 500 | ae pap est Me isa a5: of Prisoners; r 
’ > 2 3 } 5 Ree ee Mie ee ee 
Bhesty to say he had done so and} , Knoedler & CO... ieee 18,500 | Detaille, Phussian Cuirrassiers At- eee 
atti would remain in America, Corot, Le Pont de Mantes: Agnew & | tacking a French Convoy, Episode 
an i Lge jo pa. 5 eters aH otal a a RS ae RIND 22,000 | of the Franco-Prussian War, 1870; 
y Lae ateal au air. ae BRE s Fs noedier Orveveeoses ; A 
highest price e. evening Was {ccrot, Le Bat Clair de L Knoedler & C - 6,300 
,500 which Senator W. A. Clark 4 acti arama rs Sores Sh «fh 41,500 | Tules eppimeih oe Fin de la Recolte: ays 
A ” e eorges ; UT ONZ e505 s oiein's + We-wlereisly 789 
be for inti au noah de ore MO eC oe OT aa 2,600 Robert F, Blum, Ceiling Decoration; 
Daubleny, the Banks of the Oise— be cable ee me R. DISTR HIAR «cots co Ay syed 850} 


s “Le Bateau Au Clair De Li une, 


Which se ilahane iad 200. 


x OL alli 


eae 


at RAL Tj *cORRGRca | GY QAR! oS MEME Be 1 NARI T @>Y 
eee pores 


oe 


Bie, 


te 


——— 


SS 


ss 


ee a a 


<< a MoS ee ee 


(a 9 A Se ap 


BI DDERS CLAIM DAUBIGNY!| 


[when the Yerkes pictures: were 
gome years ago, 

The feature of last evening's sale 
(was the number of beautiful examples} 
jof the Barbizon schooi—‘‘The Men of; 
1830.2 The highest price of the even-) 
‘ing was $41,500, paid by Senator W. A.) 
iCQlark for “Le Bateau au Clair de Lune® 
iby Corot. It was stated by Mr. Kirby; 


i he sale of the d 
The cand chanayy sin AS the ak that this is the only movunlight picture; 
‘Borden paintings, 'tyom the brush of Corot. 


el t evening» under the auspices; 
bapa A record for Daumier’s canyases was 


| 'Shnator Oelark papa To ae ay Art Galleries, netted, 
Pp By jot the American At , made last evening when Durand-Ruel 


1 | $41 ,500, for Corot’s Only is 448.675, bringing the total for the two did $40,000 


levening $1,244,726. nly Ese ; / 
jevenings up to pees @ oat ie ae the “PRES. that artist’s “Le} 
e Ih F 1 a ‘ : 
Moonlight Picture, jhas this. amoun Poet Ww agon de Troisieme Classe.” ; 


public sale of paintings ar that was 
gold | 


a te eet ee 


Lots Sold at‘ Last Evening’s s Ses-, 
sion Bring $448,675—-Daumier 
Canvas Fetches $40,000, 


ee ee ee ee 


! 
| 


aes a etic et ar 2 aa 


ET Algerie; Delaéroix ; Darand- 

3 Pre RON Aan ORV REE ee ily Sis baieauts 16,00" 
) ‘ ee ae ee aa en Kgypte,”* pis ia Knoe@er 
in eae ‘98 560 PE GIE Sk boa +34 8,500, 


for the canvas, which “te Pi ; Boussod, Valk so ' itd Bain De\ Neuville; a pu 
» again, the bidding resumed, te Boi i te ics! Rossi ina 1°99 wernt, Chine, AtaGlag <"Ficach 0 


Aly ler & COs seek bir ee ence rege rere seek, 3,800 | Conyvoy,”’ Detaille; Kuoedicr Our... 6.2007 
oe weet oy) mrepewor Ctariet. Mare‘, Pia as "Rouskeau: ‘Knoedler.&)  . “La Fin de la Recolte,"* Breton; R. H. 4: 

“Tig Wate aes cence eae 52,900 |, ling ‘Decoration, iain ¢ tats ae: 14,800! 

. 7 : wf} Pne. Pool,” usseau; Knoedier gs ai by Selling Decoration; um; ‘apta 

“L’Appache de I/Orage,” “La Cusilatte au tord du Chemin,” Corot; aan | Dev Lamares ic ss ce ees den ig ne aeabeniee oe 

; ‘ Sil fy sf oll e119 Spt eee at ae pa pe Se yo) : ——) 

*, Borden paid $30,000, was. “Bohemierne 2 la Fontaine,” Corot: Knoed- 2 Wotal. for-evening ..i.+. css <0kset 1 see ee 


bid in by Knoedler & Co., |,,!er & Co. de’ Signet” ‘Gototy "Agnew & °°°°°, In the afternoom a portion of the! 


ah a, Songeea roe kad ah veawen ST digie ada ee ee OHS | ; 
th, “Mantes la Jolie,’’ Daubigny: Georges Pvtit jertentad porcelains collected by Mr. 
nt ttems of the evening Gallines 3,. oe Ff 2,600' Bobden was sold at. the American Art 


Birk 2 ‘The Banks of the Oise,” Danbigny; Otto 
i. NE EEO cu . pemnet (AGEN) oe vee asset esar cesses) 1,200 Galleries, and 193 lots netted $14,224. 
wetes eet hey vcvs <3 <. $41,0001) eee at Viste Adam,” Dupre; Bous- 4,200 | A greenish white VASe of carved jade 
Gbisiome classe,” Daumier; iad ‘Landscape,” Dupre;)R. H. Lorenz......., 4,200 WaS sold to Mr. Tod for $2,450, the top 
feiss ons ERAS S Ah aie bags Mepeact wpe ear Pools,”’ Dupre; 0. Kay price of the day... Mr. Oshima paid $286" 
 iupe; Boussod- "| La Diseuse de Bonne Aventure,” Diszy iss "°°? for a Champleve double vase; Mrs. 
ad w sie: pte 10) 6p: 4-6) 0.6 wip 'o-e. 9 © 25,100 | mA G. Tails os se bike Pe eee ees are 4,100 | Sachs bought uN enamelled green 
: 3: RB. H. Lorenz. : Poel unset. near Fontainebl he Sake i 3 rt 
W. R. King 3,600]) Gallenis ..... aoe cs eu,” Diaz; Sate Brich 12,600 | eee te oe hk a parla boy: aor 
R. G. Vose 2,000 * ae nine Storm,’’ Wyant; W. W. Hee se ee, id a white jade jar or 
oT w & Sons 8,500 | man, Se bbe ves tars evens eesera testers 3,400. ” 


+ We | sroneet | -Taness; Mre. W. G. Ladd.......12,500; “Mrs. «1D, 'G. Reid paid. $170 ‘for | 
een Baste fa Centra Park 1874,” Whittredge; | ¢ihimese imperial yellow vase, and Mrs. 
fe 5.000 “Autumn Be. AclEntee; B. Bur. ae |, Thompson secured a miniature Yaaee 


W, Seaman 
j W.' Seaman 3 3,000 PRMD Fis Ti ss aphi es cs eo ene ed RTO SAY ‘for $110. | 


Pas Pictures Bring $1,244,725; my 
__. $24,000 for One by George Inness 


oe eS 


"SUNSET ~MONTCLAIR™ -BY GEORGE: INNESS 


nd 


Sale of Art Collection Ends with ‘Sunset, Montclair,’ Bringing Highest Price Ever Paid for 
American Painting—Mr. William A. Clark Givés $41,500 


for a Corot. | 


With A grand total of $1,244,725 for the|night’s session was $448,675. The feature, | resented by Mr, R. H. Lorenz. That ig@ 
i@hty-two paintings, the sale of the M./although the price was not the ijargest new world’s auction record for an Ameri- 


| 
| 
{ 
| 


‘| D, Borden collection of pictures came|the evening, was the sale of a George} can picture, Mr. William A. Clark became} 
> an end last night in the ballroom of the|Inness landscape, ‘‘Sunset—Montclair,’”’ | bidder Jast night, and carried off two 
"laza Hotel. The proceeds of the second! for $24,000 to an anonymous bidder, rep-| prizes, Corot's ‘‘Le Bateau au Clair: del 


rirby. 


tion a in the art world 
ustrates the remarkable in- 
of the work of American 

. years. 
s Hrwin Davis collection 
auction in 1889 in this| 
“Mr. Potter Palmer, of 
”. It next passed into 


De locious golden work. 
is a dense mass of 
toward the centre, | 
aes mrad. out con- 


as ic impression of the 
nr ess’ New Jersey home. 
“‘Sunset’’ went to Mrs. 

. That painting 


sage a Daumier. 


for whieh 3 Clark. paid 
ae. 


ale 


Sorot, 


"indenting the shore 


In the water is a boat 

rsons. A full moon is 

‘ cet the composition. A 
E over ‘sky and water, empha: 

. Sives an effect similar | 

S pores Yo ae the early | 


y picture, “The Willows,” 
lark also bought, is a panel. 
re of a plain bordered by : 


16 horizon alittle stream comes 
filling the foreground, Willows 
left bank, and on a rocky pro- 
the rightfour peasant women 
linen in the river. 
| record for a Daumier was 
Le Wagon de Troisiéme 
_to Messrs. Durand-Ruel for 
3 picture shows the interior of 
eee: class railway carriage, 
ree ectersst ie types, every one 
faces ‘being remarkably individual- 
. handling is vigorous. and the 
Bes rest beauty of tone and color. 
er Landscape,’’ a beautiful and 
position by Jules Dupré, went —— 
ussod Valadon Company for, 
is is. a rocky scene, with'a brook} 
surmounted with trees. A blue! 
esky is pyeneptsed with active 
suds ) 
ee ncns de l’Orage,”’ show- | 
a field and an approach-, 
vent to Messrs. M. Knoedler &'| 
Diaz’s “Sunset Near Fon-! 


rit 


ral i) Corot, “Le Pont de Mantes,” 
Seine, with grassy banks, 
mder the arches of a massive} 
ige, went to Agnew & Sons, of} 
Bring Geod Figures.’ 
ee: iol Corot, ‘““Bohémienne 4 la} 
Re,’ a Gypsy woman standing 
@ background of trees, was bought | | 
sr ‘any Knoedler & Co., for $18,500. 
nother, “a Cueillette av Bord du 
B. Thompson 


Perr ee: 


Rousseau’s ‘“‘The Pool—Clear- 


ie hence ehie- aie 3 
« ’ - 


Be 
> 
a 
c 
oQ 
4 
ct § 
o 
wa 
4 
in) 
3] 
n 
ve | 
a 
tol 
= 
A 
as 
o 
io 
Oy 

1 


. for $17,000, and the garmie buy ers 
Sseau’s “la Mare 4 Piat, Foret de 
bleau’ for $9,900. “Combat en Al- 
ae by Delacroix. went to Messrs. 
_\ibamd+Reel for $16,000 ; Bréton’s “La Fin 


eee 


B kuspices | 
and the] 
seau’s “The Plateau de Bellecroix”, went 


: Rirenteeic to the Roussod Valadon Company for 


The canvas! 


. the sky. The fore- | 
» and wild flowers.; 


ng branches of} | 


I Deane. 


isn bought by the Ehrich Gal- | 


| All Records for Public Sales Here | 


$15,200. 


Other pictures, with the artist's name! $1, 000,000,” 
the}, 
'puyer and the price paid, were sold ag fol-|last evening was $448,675.. There were no 


first, then the title of the picture, 


lows:— 


Monticelli, “Court ad’ Amour;’’ W. R. Rie: $3,600 


“Romantic Scene;’’ Messrs, R. 
Ph Vose..... BIR e ebay, wipuwlel es elel de biie ‘6 


Mons er 
Cc, and N 


2,000} 
a7 “York amateur who Fromentin, “4 la Fontaine:” Agnew & Sons 5,500 
sn about the year 1390} 


Decamps, ‘“‘Les Petits Nautoniers;’?': Mr. 

WV2 WM Seniibere RRONTS oso. 8 os 5,600 | | 
“}lenner, ‘*Penserosa;’’ Mr. W, H. Behrens. . 6,000 
| Vibert, ‘Theological Dispute;’’ Mr. W, W, 


Seaman, agent 
Gerieault, ‘The White Horse;’? Mr, 
RRR SEEM DEORE Mearega ret 6 8 le AR. ws eile ae We 4 aagitb- kG he. lb 
Rosa Bonheur, “Highland Cattle and Sheep 


On P(e ees 8 aes 6 wi bee ak ale 


' , 


on a Mountain Pasture;’’> Mr., Wy -H. 
PS ORT EPS CMe ats cy A Uline y > ee alolg cal soup Crime a i Soe 
| Meéissonier, ‘A Cavalier ;”’ Mr. — W. 


‘Rousseai, “Pool in the Forest;”* M,. 

prenoenier Gas gor, wk athens. 
Daubigny, “Mantes la. JoHe;’ ; hbase 
BRO tt Raley ree ee alee ety coed cre 73 
‘Daubigny, ‘Banks of the Oise—Summers" 
| Mr. Otto Bernet, agent.....,.....5....- 
Dupré, “Pasturage near “Dele: Adam; i 
pa Bouasod Valadon Oo... . 5a. isc. Nece cee 


; 5,000 | audience 


6,100) agent, for $24,000 
Behrens COOL OO Reese sre cenerenseeereres . 4,800 


8,800 the left of the ‘picture, 


. 7,900 |Autumnal effect. 


rin oy : y poe 3 = er i is “wht jl - aX '* ae 1 y | 
ak ane seater - the shadon »f lmous s sum 1,244,725. As tthe snore 

a tree wate ng s flock, was t one was 
Messrs. Scott. Fowles for $22,500. RE BY se if de picture ore agp tae sie ‘ 


Kirby, the auctioneer, said: ; 
“We have now passed the milli 
mark in this sale—sixty-two pictures f 


The total for the forty pictures sold 


rices for individua! pictures in six fig- 
res, but many in five figures, and two 


ecords were broken, one for an In 
nd another for a French artist not 
well knewn in this country—Hono 
aumier. _ 
There~Was more applause for the In- | 
ess than for any other picture in the) 
sale. It was. more marked because the | 
has been chary of applause, 
throughout the sale, though its size and) 
close attention showed its  interest.; 
“* Sunset (Montclair,’’ was the record- 
breaking picture, going to R. H. Lorenz, 
24,000, and there was more 
applause as it was knocked down. 
The picture shows a field with a) 
little boy and girl in the foreground,! i 
with densély 
‘The sun, 


foliaged. trees at the night: 


2,600 just going out of sight, gives a deep 


iwarm glow to the scene, and almos etm +: an 
It has been one o 
pictures most admired while the coliced 


eee, Landscape; Mr. R. H. Lorenz, agent. 4,200 | ‘Honoré Daumier, the satirist and. fine 


upré, Landscape—‘‘Huts Near a Pool; ye 


Mr, POMC T. AONE 5-5 ise) dace wee niela eas 
|Diaz, ‘“‘La Diseuse de Bonne Aventure;’’ 
Mrs. Vere TRAM ic. oy WRN yes tae Sete a 


i bite ‘“‘Approaching Storm;’’ Mr, Seaman, 
PARRA ERTS hes 27s uid a Spee ace Figte seem ie aoiala oss 
HWettde McEintee, ‘Autumn Landscape with 
Figures;’’ Mr. Bryson Burroughs 
‘Géréme, ‘‘Bonaparte en Hgypte;’’ M. Knoed- 
fler & HOO Se ethane a acid ALY Siete ere se he ee tale 
Re Neuville, ‘“‘Iransport of Prisoners;’’? Mr. 
G. Bayne. ite 


i ee a ey 


i “Prussian Cilirassiers Attaeking 
a French Conyoy;’? M. Knoedler & Co. 


Sale of the Porcelains. 


The dispersal of the Borden collection 


of Oriental porcelains’ and miscellaneous 
art objects began in the afternoon in thejnear him. 


jAmerican Art Galleries, No. 6 Madison 


Square ‘South. The proceeds were $14,224. 


!panoramic landscape with numerous fig- 
ures. The Kaldenburg Galleries  paidj 


and cover, Mrs. Henry Clews bought for} 
| $310 an emerald jgreen jadeilte sacrificial 


\jadelte miniature table., screen. 


BORDEN PAINTINGS 
SOLD FOR $1,244,725 


Broken—$448,675 for Last 
Forty Pictures. 


A COROT BRINGS $41,500: 


Ex-Senator Clark Buys “Le Bateau, 
au Clair de Lune’ and Dau- {| & 
bigny’s “The. Willows” 


The second and last, évening's sale of 
the M. C. D. Borden collection of pictures 
af the Hotel Plaza under the auspices of | 


la Récolte”’ to an anonymous buyer|the American Art Galleries closed with 


; presented by Mr. Lorenz for $14,800, and 


| 


he record of being the biggest «public 


4 
pera aslall | 


| 


‘| 
a 


1,375 and 


The highest price was $2,450, paid by Mr. } 


Robert Tod, for a large greenish-white| price of the evening 
jade case, carved in bold relief, depicting a/ by 


$425 for a moss green jade incense burner] | 


jar,. with cover, and for $100 an imperial |, 


, sailboat in which figures 
; indistinctly, 
{; tree 


Haar Ae haze over 


| as the combatants 


i] 
| of London 


| 


de Mantes, 


Pee piciure, 


ing. His werk in Mate line was liked and | 


8,400 | purchased only by the artists—now of fa- 


mous names—ef his day, Daubigny, Corot, | 
Rousseau. 


“Le Wagon de Troiseme Classe,” a 
scene in a third-class French railway 


carriage, went to Durand Ruel last even- 
ing for $40,000, the biggest price a paint-j; 
ling of his as ever been. known to bring | 
this or his own country. A rotund | 
mother of the petits bourgeois holds ai 

ichild in her arms, a neighbor with hands! 

iclapsed over a basket, a bonnet with long 

ends-on. her head, is beside her, and 4 

Ismall hov is asleep, with a box on the seat | 

In the rear’may be seen the | 
backs and a few taces of other travelers 
of the same class. It is a strong picture, 

with much depth and beauty of color. 

A Corot which brought athe highest | 
only led the Daumier. 
$1,500. This was another picture 
iwhich called forth applause, a charming | 
scene, ‘Le Bateau au Clair de Lune,” 
‘said to be the only moonlight picture 
\the artist is known to have painted. It. 
iwent to ex-Senator W. A. Clark for 
$41,500. 

The full moon shows in thé centre v4 
the picture beneath the thick branches 
of a tree at one side, its rays reflected 
-in the water in which at the right is a 
may be seen 
On the other side of. the 
is another seth and there is a 
a 

Willows,’ by Daubigny, was one 
of the "nigher priced pictures of the even- 
}ing, going to ex-Senator Clark for $30, 
starting. at, $10.000, had a 
long, slow sale, going up by hundreds, 
‘and. Was finally knocked down at $26,000, 
| but there were two claimants and it was 
brought back and the audience laughed 
renewed the. tight 


for it. 

A number of pictures sold will be tak; 

en out of the country. Agnew & Sons 

bought the Corot, ‘‘Le Pont 
for $22,000' and Boussod 

Valadon of Paris the Jules Dupre, “A 

/ Summer Landscape,’ for. $25,100. 

The Yerkes sale, which brought more 
money than the Borden collection so far, 
included rugs, furniture, and objects of 
art, the total returns Deing $2,207,866. 

The waary J. Morgan sale of 1886, in 
which there were many beautiful pictures 
and whieh has been ranked as one of the 
greatest of public sales, brought only) 
$1,205,158, and included porcelains, books, ; 
and etchings. That was less than the re-| 
turns for the Borden sale of pictures | 
alone. There still remain to be sold . 
this collection an immense library . 
vale: able books with porcelains, potteries, 
and Greek and Roman glass, which will 
have a three days’ sale. 

Following is the list of pictures, artists, 
purchasers, and prices: 


Court D’Amour, Monticelli; W. R. King. .$3,600 
‘Romana Scene, Monticelli; R. C. & N. 

Me Voseetaneton |. <i. eddie sh bee oe ree 2,000 
A Ja Fontaine, TFromentin; Agnew & __ | 
SONS IIE oa. ok wb se SHIR we ¢ bree 5,500 


Pai i ae a ema me a 


OnE. Gala vil Ae BS oe: 


| BORDEN COLLECTION SALE. Paniel_G. Reid, W. R. Coe, W. E, Benja- 


tte seas ae 


LY I ARS Nite oes | | ae Ke 
repeat es eee #2,150 for a Jade Vase, 
« ee a ee se Se ee ee ee ad ya il 2 A mae 
; ébleau, ‘Diaz: Bri od ilecaaig: her parle of the Bore 
ee ee eee eens ? f ec On reste 7 } tns of 
: | ne De L’Orage, Troyon; Knoedler Hb sia oceae hes: Be a 
Be oe 18. 200 a eeeave Fe eee ne ne ees Pn + | or antique Ch : 
Storm, Wyant; W. W. fs : 
3,800 unse r,) Inness; BR. Ht. Lo- Thy highest ar 
a] - esis Sid Poy RMS Sie wie en gae © wl elble bbe , et A €s 450, 4 
oe as 28 900 one I S Oliw. ts Gs. add... ,.. 12,500 '| paid by Robert i Tod ar poo vase, 
daeeteerse eves 17,009 / Seene, in Central Park, 1874, Worthington | greenish white, five and one-half inches. 
Be temin: Goroke Whittredge, Bryon Burrough.......... 50 high by six in diameter, a wid evlin 
‘ Fey te eon meet Puts | drical shape, beautifully carved. ‘cat n= 
18,500 | sf monies or vith Sot er iaena aa 
Berane “3 _ _Daumier; seh ie : rner Ww cover; Mrs, He 
fonew ae | oribat Bin ae ah eee eee et 40,000 $310 for an emerald gree 
Nady ee Ae tee BAU Pree Mh a tings gOS sigh 2X ch ae § Os oy 
geet 500 atti sn En Egypt, Gerome; Knoedler 5: 
be iat ' al oO, fi Pee See eee vase 9 MANS Che e's & 0% 0 te we ae 
oF 2.600 . Transport of Prisoners, De Neuville; S. 
fae ? A ee ee sa On Rag tenes French contin d tl r 
Fe soon. Prussian Cuirassiers Attacking a French continue iis” afternoon, rme 
A iyi 7,900 i poonyey,, De taille: Hnoedler & Co... 6,800 7 en Mrs. Ogden Milis ae ns EL! 
aeeOs Er EEN | .Recolte,. Jules oi Fd P “wer erg. oe : F 
aye teacenee es yes 30,000 ) H Lorenz, agent........ a vs be i seeg 14,800 abt sei cic di iM 


CEP ah A? f 


} min, Emerson McMillin, W. H. Milliken, 

The first session of the two devoted Ic. Johnson, Vernon Brown, Jr., James F. 

to the sale at auction of the 82 pictures Bae N. Y. and William Barbour of 
jowned by the. late M. C. D. Borden, SV" © - J. | 


fn the lady Hotel BallroommThere, itese feichameaperghension Yes My 
day evening, Feb. 13, and at which 42 late, would not be able to conduct the sale, 
numbers <were dispersed for the sur- ed pee happily ees are pre- 
ars a SOE ALA ( . {cise . M., he entered the room 
aia oe o eee cei and soon after opened the sale, with a start- 
1é most op Stic speculations. jing: bid of $500 for a landscape’ by Patrick 

and ~anticipations of collectors. and Nasmyth, which brought the large sum, for 
dealers. It not only broke the record a Nasmyth, for New York, of $1,100, on an 


: : order. From then on until the cl 
< . in London, | : 1 il the close of the 
for any oné-session art sale in L ’ sale, a few minutes after ten o’clock, scarcely 


Paris, or Berlin, but in New Yorx, a person left the room, so great was the 
overtopping even the second session of interest and suppressed excitement. 

| the Yerkes picture sale, April 6, 1910, No Great Excitement. 

whose total was $469,200, and the en- It must be said that even the very high 
tire total of the Marquand sale of pic- figures brought by several of the pictures, 


ti ‘ ile did not cause the excited comments of the, 
‘tures and wart objects of 1903, wh Peeag dalca itorae None eee 


individual world record auction prices Tittle applause at any time. For all that the 
for single-pictures;were made for Kem- sale was a triumphant success. With the 
brandt, his “Lucretia Stabbing Her- usual lottery chances of auctions some pic- 
self,” bringing $130,000 (Knoedler & tures sold surprisingly low, and others: for 


: : oa + unexpected sums. The early Dutch pictures, 
Co.) presumably for Mr. Henry C. 5; instance, would probably have brought 


Frick), fer Hoppner whose “Mrs. Ar- higher figures in London or Paris, while 
‘buthnot,” brought $60,500 (Scott & some of the early English works would not 
Fowles) for Romney whose ‘Willett have risen as high in either of those capitals. 
Childten® fetched $100,000 (Scott & _ Pictures and Prices. 
Fowles), and his “Countess of Glen- . The artist's name, title of picture, buyer's 


ew name, when obtainable; and price brought 
cairn,” $57,000 (Scott & Fowles), and poy. , Pp ght, 
| CORRTS a 9 e 
“Old Crome” whose P W illow Tree Nasmyth, P., “Edinburgh from Gogar,” spect ie 
)f oo ie i (E395 base... AMAT: «TRIER AO hee bie ele Soidieny nea beiais aie : 
fetched $55,500 (C. K. G. Billings) Tee ae ita scrmenenc anurans 

A Record Audience. Morvalecwsin cater’ ae lho sie ee cre cede ak neta 3,500 


; Constable, J., “The Sluice,’ Bernet, agent.. 2,100 
Almost every seat in the large ballroom, Alma-Tadema, Sir Li, “Unwelcome Confi- 


‘even with admission only by card, was filled’ | dences,”” fe semaed and Svar Se! ir Te 2,800 
; ime Teniers, D. e Younger), “Woman Smok- 

‘Thursday evening, an te gale tent ds ing? in tinn erlenoediler cand. Gow... bi. este a's 2,150 
set for the sale, or 8.30 P. M., anc uNndredS yan Ostade, Isaack, “Peasants before an 
were turned away, even some having cards, Inn,” Kleinberger Gallery................ 4,100 


‘before the sale began, while hundreds more|Futner, J. M. W., “Cliffs at Dover,” R: Mi« Fis 
stood during the entire session. The fin wouwerman,. B, “The Sutle’s Booth’ De , 


if cold, weather had its effect in increasing, Paul Mersch ...........sseeseewbacesees 3,050 
the crowd, but the wide general interest 1n een eg any “Lady Pouring Wine,” Klein- gi 
‘ ne r thre at ony | erger ALLCTICS vee sees cere es ers rer ecees ’ 
the-event sufheed-to- br kai a ie + 4 als, Franz, “Portrait Rev. C. Sibelius, 
all the prominent art dealers:and collectors SGemIeN,  ALCHE | cviclc seh w 2% cu hcrcescevurs 45,0€ 
of the country, but many from eathpo 5 Van a vere “Backgammon Players ia 
ioSsi Smomememrnnot tin, = Witt. COCs. .esrccscseeedercesee ; 
a host of art lovers and, curiosity Wynants, Jan, “Hilly Landscape with 
Noted Collectors Present. Grove IRL, Reiss). v.cch planer vee ee 1,600 | 
Among the leading collectors\ present "tomm® Geo» “Rustic Sceney Bem oe 2,600) 
were Mmes. Morris K. Jesup, J. B. AEN “ puedae, Jacob, “Waterfall,” E. Mal- ; det 
Pembroke Jones and F. M. Thompson, and linkrodt ............-+++++- errr ,100 | 
Messrs. Henry Walters of Baltimore, gat aa OP Grand Coe ‘an 
and Harold McCormick, Henry Lytton and Guardi, Re. 7a San Mnpeeeetenion’* 
William H. Moore of Chicago, George ae and Fowles: ee ee eee 5,000 
onry ouwerman,. P., ‘I’Abreuvoir,” Ee Pat 
SE oe eons, Kienry DO RavCOCK ge! 2,500 


5 an0 | of art objects, at the American Art Gal- 
* ileries, Friday, resulted in a total of $14,224. 
13,000";Mrs. D. G. Reid made several pur- 
By ip chases, which included a Jade water re- 
“,ceptacle for $200, green jade vase $145;| 
10,000 ||Jade vase, $260, and two Chinese Imperial | 
yellow glass vases, for $170 each. Mrs.! 
36,000'| Henry Clews’ purchases included a sacri.| 
2,700 ficial jar with cover, $310, and miniature| 
table screen, $100. Other buyers were | 
16,000 Mmes. Fred. Thompson, Walter G. Ladd, | 
s.io00 |C: W. Chapin, Orme Wilson and Messrs. | 
; Ei leiienty, Kore Forod. R, E. Moore, | 
10,500 Arthur Hoe, Yamanaka and others. 


ooh pagar? Seer l PY aa 26,000 ,Artist’s name, title of picture, buyer’s name when | 


See : btainable, and price follow: 
Pers Rembrandt, H. Van Ryn, “Lucretia Stab- a pater Pp 3 ; 4 
eo. 4% bing Terseli,”’ Knoedler- and Co.......... 130,000 | Monticelli A., “Court D’Amour,” W. ae nee 
% : 6 ” e | : RP I Rk CROC CONCH Ee CCE ig UIE CRE (Cat SCs Rts F ! 
Frise dace 9. oem Comet Sos ogg | QB A, Sma” Ce 
mee 8s. 2 Ima-Tadema, Sir A., “Conversion of Paula 7 ‘ Sly ae ee eae, Pobre eke mae : 
eS by St. Jerome,” A. A. Anderson......... 13,000 | Fromentin, E., “A La Fontaine,” Agnew & 
es Millais Bewioin, “The Pet Bird?” Sesrvan OMIM TS su stalelye ohh w+ a ieiian's as 0 Ree 5,500 
3 agent ¢ : : . 72008 ceemps, = G., ‘peed pants Fauconiers,”’ 
REST oonner ohh | GNA de aR ee oe ong See ee pet RS Ste TN ie Tey 2 i em 5,600 
gh ee evita | Pilenner, J. J. “Penserosa’ W. i” Benton: 6,000 | 
Crome, John (old), “The Willow Tree,” C oie Meee ken Dispute,” W. W. : Sai 
: Get ete Oe ree oss 5 kn Nee: ern ter ee Ae ; 
He, omney, Geo., “The Willett Children,” Scott Boetcauls, 5; C5 ee BhiELS be ARE Sn 
iy en Lap Say Ret a Og nee 100,000) man (agent) ov. .s....+.+,.5athe Boece 3,000 
em . mon Spent aye, “Countess of Glencairn,” Pen, Rosa, “Cattle and Sheep Weeit. ena 
oa Rie WEATeL ECON mC IOMOOM )\caekne bc Ge osince , 57,000 | SeHrenS .....006. meters tt tees eee e seen y 
fs Biettity. Albert, “Mother and Children,” i Meissonier, J. L. E., “Cavalier Sapw. . HH. 9 
yi) TELS 8 rR en aaa 2,100) Behrens ........++ esses eens ah ttle. . « « 4,300) 
ee auve, Anton, “Winter Landscape,” Bous- j Miliet, J. F., “Le ’ Gardeur d¢% Moutons, 1 con 
§ z SOAP y OVA OR CP OTIS) Cn os cave bockece 5,900} _ Scott & Fowles 2 chore a8 EDR Me oe Sines , 
= ieffenbach, H. A., “The Foster Mother,” | Rousseau, Th., ‘“‘Le Plateau de Bellecroix,” ae, 
78 SOLS VETS Sa Se ma 325, Boussod-Valadon & Co....... ete tae eee ve 
Gi Siegert, A., “The Old Grandmother,” Miss | Rousseau, Th., ‘Pool in Forest,” M. Knoed- eae 
‘ Bok Wellimgton Masbate shore hss EVE g eieie oun e 525 ij lef Ee COs sa as TONED y oer Weil Porras ’ 
ie S geh nace Karl J., “The Counterfeiters,” Rousseau, Th., “La Mare a Piat—Fore aon 
A Wipe SHRUSING, A OTILAA eC ae coe n ans ses ca es 750 ||_ Fontainebleau,” M. Knoedler & Co...... eee y 
eer Knaus, Ludwig, “A Bavarian Holiday,” J. ' Rousseau, Th., “The Pool—Clearing~ Off, ne 
2 Pon eiawmare . fy eae? ROE ee ees) = 87600 | _ M. Knoedler & Co... +; Bie A) le eee Ferd A 17,000 
von Defregger, Franz, ‘The — Adventure,” | Cee Pw B thea au Bord du nh S00 
\ i al 5 pee MAM oveiany evel awd Seseys eiteae eee ; 
eee Pe pe hulthieis CURIA ee Satie | Corot, J. B. C., “‘Bohemienne a la Fontaine,” eae 
bh" { - ; 
; \ DS OSS ii et a ne ae $796.050 | . M. Knoedler & Oren sees eereees Sere : . 
‘ Corer. i... b...C, - Wel Pont de: Mantes, 
Second (Final) Session. | Agnew & Sy ee EFS lees ste 22,000 
. “eé r e 
__The story of the first session was repeated | 7 LAR Sree care en pe Saae 41,500 
a on Friday evening—possibly in a more sub- | Daubigny, C. F., ‘‘Mantes la Jolie,’ Georges 
j gny, 
ie dued atmosphere and with a total for 40° Petit pee. Lp PGE ren ner ee 2,600: 
ae 3 pictures of $448,675—which added to Thurs- | era Boi Seanent’ epee ar ers 7,900 
; day's night total of $796,050, makes a grand | paubigny, C. F, “The Willows” Wm. AL 
Aso total of $1,244,725—a world’s record for a Clark rete Vass sea seis nth on Ree 30,000 
eee, Picture sale— while again sev-| Dupre Tendon 8 CO 4.200 
eral world’s records in individual picture | Dupre, Jules, “Landscape,” R. H. Lorenz ; 
by _ auction prices were made, notably for Dau-| (agent) nie ples iewaees Gerth e. 4,200 
| : ibigny, whose “Willows” brought $30,000 | Dupre, Jules, ‘‘Huts near a Pool, Sean 
4 ue : }__ net (agent) weet e eee ee re seeeners gone A 
(Sen. W. A. Clark) ; Daumier, with $40,000 i} Dupre, Jules, ‘Summer Landscape,’’ Bous- 
for his “Wagon du Troisiéme Classe” | sod-Valadon & Co....... ied Pear er 25,100 
(Durand-Ruel), and the American George | Digz, Ny/“La Diseuie ‘de Bonne Aventure,” 
Inness, whose “Sunset—Montclair,” ‘made | Diaz, N., “Sunset near Fontainebleau,” 
the splendid record—far away the highest! Ehrich Gallery ss .sseeeeee es sig a 12,600 
ever recorded for an American picture at (a ae Tes apa de l’Orage, eee 
. i en GOs Gra.4 SF ae concen Ons oigtak “cack 5 
auction—of $24,000 CR. H. Lorenz, Agent). Wyant, A. H., “Approaching Storm,” W. W. 
The Chief Bidders. Seaman (agent) spe catateeyinse nae tates 3,409 
. . . 66g pe : Q > F 2 or- 
The bidding at this second and final ses- | 208 went meee eee cena 24,000 
sion centred in a comparatively few dealers, Inness, G., “Sunset,” Mrs. W. G. Ladd..... 12,500 
firms and persons, and was stubborn, rather panes as “Scene in Central Park, aa 
eee cept at times. Knoedler & | Tiiittec, J. fAmmmn’ Landscape,” Brygon 
Co, Durand-Ruel & Sons, Scott & Fowles, | Piero ee eres a arts + oan eet ates poweesses 1,375 
‘Ebrich Gallery, or Ce: Se ON. M.S" Vose> of rare ee nee ears de Troisieme 4 Oe 
asse, LEE eDEVCLSINGLOUN veh svc] Sale <ipiaateue tortion ie ares sf 
Boston, Boussod-Valadon and Georges Pe- ieieercie: Eug., “Combat..en Algerie,” Du- 
tit of Paris, and Agnew & Sons of London, | yand-Ruel. 2... sc sce ceeee eens Aer carats. LG00n 
all secured pictures, but the chief compe-)Gerome, J. Dips Bonaparte en Egypte,” M. on 
i | # - ~ 
‘titors were Knoedler & Co., Boussod-Vala- | Knoedler SEIKO: Gata a eater Oe deeiats ene alae a oo : 
lle, A., “‘Transport of Prisoners, 
don, Scott & Fowles and Durand-Ruel &|D& Newille, A “transport” of Prisoners seit 
‘Sons. The leading private buyers and_bid- Detaille, E., “Prussian Cuirassiers Attack- 
ders were former Senator W. A. Clark, ing a French Convoy,” M. Knoedler & Co. 6,300 
Balti H Lvt Breton, Jules, ‘‘La Fin de la Recolte,” R. H. 
\ ‘Henry T. Walters of Baltimore, ey ‘: IE DE CO Patil ETE ara arate, Re kant melas oho Be ale 14,800 
ton of Chicago, Mrs. Walter G. Ladd Ot! Blum, R. F., “Ceiling Decoration,’ Capt. J. 
/ erat re, VV. ti: Behrens’ of Ni YR. De Lamar oo 0s... ceeeieveteavness 850 
and W. B. Thompson of Yonkers. sie Sh oe gO area rh OS OR eae $448,675 


Jades and Cloisonee Sale. | 0 


\\~ : rand botal: (Pictures) scare week «see $1,244,725 
| _ The first afternoon session of the sale | 


wets see 3 


SSS 


graph letters a Peal Th ear s 

; @ o 

“which are authenti- | wore: Arron wtih brought over 
of which go back: to}. 
4 ‘ . century. j 

“Sons bought “The Birds f. 
by John James Audubon 4 
: ep fee ea ee ‘paid 
) for “Poems, y in the Scot-|., Mr ; 
lect,” wy Robert Burns; the ¥ mee ia the Tomb,”’ terra cotta eon 
vork brought a te at the Hoe if 

long since. C. W. Gordon se-|, “the B ateses 
aeoesanpaly shawene work | avcebic Dance,’ terra cotta, group: Mr, 
mp jed by John La Farge ane i 2 pls, y SOs +k 0.0 6s 'e @ theres wie aie 
ae bathed for $850; a rare copy |:..f& Alberts eA a: cotta group si 


ar f) 


‘ 
2% 9:9 0 Danses 6 ae sie mle e alee 


tse essen 


igh ey cre fate French ro- ond oo: 
i) he ninth century, printed in Pair of. massive euld branches Meee 
ag sold to G. D. Smith for g820. |filver oa i WB. ie 
Henry paid $750 for a collected], MO ss aero meiaye ds Sade ooty oe ee 
first editions of the works of ee faedallion by Kimon, 404-395 "B, O.? iat: 


ED Aloe orth: Scribner & Sons |#ngraved emerald and enamel buckle; Mz, 


Dr. W.  Bode’s “Complete r Pie 'e 6 \Nib.e.4-» [sly wiieaens Ge Cenan 1,650 
ee Rembrandt” for $500, and] pangine vase; Captain J. R, "4 
y| “The Life of Samuel Johnson,” by Bos- | “TD ,” Portland Vase: Otto Bi 850) 
0 bios for $400. i ase; Otto Ber | 


aoe 
ee eat cameo glass ‘plaque; 


me Hf Soe WF, Bose. 0220 


ide Mebane 23 vn ee enw 700 


a as aaa ‘by W. B. Thompson! , Sik Ee S Toetuy Panels Wek! 
01 "a large Persian silk rug, with floral Peesan Sik Rug: saonttretes 
fruit” motifs. §. W. James paid} tone Comin ‘Mx. ok. Poreeeroverrsesy: 


© wood table; Capt, Do Lamar 1,825. 

entitle: "Meeting at the Tomb,” and Total “for afternoon + eeas “ri newse eee nan 842,786 
‘. dating | from the fourth century B. ©.| — . 
4} An authoritative statement appeared’ 
in the catalogue to the effect that 
les| ‘this must have been a copy of some 

©| great past masterpiece.” It represents 


fia warrior leaning on his horse, and 
facing a kneeling, draped woman. 

A rare engraved emerald buckle, the 
‘emerald weighing 887 carats, and set 
in gold, with incrustation of precious 

tones, was sold to Mr. Baumeister 
| for $1,650. The jewel has a history 
icarrying it back to a Maharajah of 
Benares. 

A terra cotta group, dated fourth 
gentury B. C., representing a market 
eiscene, with several draped female 

s'figures and children surrounding » a 


tae aegis ECHOES. the revealment of the identities of 


. | buyers, well knowing that to obtain 
: The echoes of the record- -making and such information is now well nigh im- 


breaking Bordenssale; and especially possible. 
of that of the “pictures, are still ring-| 
Ane through American art circles, and auction audiences in New York have 
fms has brought opportunity for aalso and markedly changed’ of tate 
Scott ee of the event than was years. Well remembered by older 
ID ie e last SS men and women are the sensational 
m a study of the buyers at the sales of the John Taylor Johnston, Al- 
picture sale>it again becomes evident, bert Spencer, Mary Jane Morgan and 
. as has been more noticeable at every ‘Seney, Thomas B. Clarke i 5 eee & 
. succeeding. important sale of the past Evans picture collections and the fi 
' three seasons, that American art buy- ures, which grew larger yearly, ob- 
oe and @llectors are drifting more fined for special pictures at these auc- 
and more into the English and ‘French tions, but which now seem puny in- 
E custom of purchasing through agents, deed. When Turner’s “Slave Ship,” 
| generally déaler8xatt the larger auc- brought $10,000, a Messonier, $11,500 
tions. “Lhe days when the late C. P. and Church’s Niagara $12,500 at the 
| Huntington Marshall O. Roberts, W. Johnston sale in 1875 and when the 
ie Blodgett, August Belmont, and jate C. P. Huntington paid $25,000 for 
other pronnnent collectors bid them-|Vibert’s “Missionarv Story,” and Jules 
| selves it the old\ Leavitt salesrooms, Breton’s “Communications,” went to 
later at Chttkeringe and even still later Montreal for $45,000 in the Mary 
at Mendelssohn Hall, for pictures, is Jane Morgan sale of 1886, New York 
well even No longer do the keen re- could talk of nothine’ else for’ weeks; 
porters-of-the dailies besiege auction- and when later, in 1891, Millet’s “Blind 
eers, bookkeepers, and even proml- Tobias” brought $40,500 at the second 
ment persons after art auctions, for Seney sale, the sensation was almost 


for a Greek terra cotta group |: 


And the character and temper of art 


meas oreat. 


But even this excitement was over- 
topped, when in the William A. Stew- 
art sale of 1898, a small-sized man with 
a yellow beard, known to New York- 
ers, excitedly bid $42,000 for and se- 
cured Fortuny’s “Choice of the Model,” 
and it was later learned that a new pic- 
ture- buying * ‘Lochinvar had come out 
of the West,” if the person of Senator 
W.A. Clark of Wyoming. The $66,000° 


Bad $53,000, which Meissonier’s “Fried- 
ee * = and. Rosa _ Bonheur’s| 
orse Fair,” respectively brought at. 


‘the Stewart sale of 1887 are also. 


‘well remembered, as also the resultant 
public excitement and the congratula-. 
tions offered when the late Cornelius. 
Vanderbilt, who bought both canvases 
presented them to the Metropolitan 
Museum. And let not the $8000 
brought by Inness’s “Gray Lowery. 
Day,” at the Thomas B. Clarke Sale of. 
1899 be forgotten, as this was the first 
big auction record price for an Ameri- 
can picture. 

r How small indeed do these figures 
now seem, in comparison with the} 
$130,000 Rembrandt, the $24,000 In- 
ness and others of the recent Borden 
pale. 

_ And, still snoties change is notice- 
able in New York art auctions, namely, | 
the comparatively small number of. 
buyers. The private buyers of the 
Borden pictures did not number over. 
ten, all told, and while some of the. 


dealers’ purchases were for clients, it, 


is probable that the chief dealers buy- 
ing, who were Knoedler & Co., Scott & 
Fowles, Durand-Ruel & Sons, Bous- | 
sod-Valadon of Paris and Agnew & | 
Sons of London, had no idea of letting’ 
the “market” for early English and 
Barbizon pictures fall down. 

It transpires that Mr. Ambrose D.| 
Monell of Tuxedo, was the purchaser | 
or-ihe —farge Turner “Regatta off, 
Cowes,” for $105,000. 
“St.. Mich- 


two “attributed” Turners, 


ael’s Mount” for $25,500 and “Grand. 
for $60,000 at the} 
Yerkes sale in 1910. Mr. F. D. Stout) 


3) 


Canal—Venice, 


of Chicago secured the Franz Hals 
“Portrait of Rev. Caspar Sibelius,” for 
$45,000, and Mr. N. L. Amster of Bos- 
ton, the Decamps “Les Petits Nauto- 
miers” for $5,600. Mr. I. M. Stetten- 


heim secured the large Diaz “Sunset— 


F’bleu,” for $12,600, while Mr. James J. 
Hill of St. Paul was the buyer of the 
Delacroix’s “Combat en Algerie” for 
$16,000. 

It is also reported that the Daumier 
at $40,000, “Wagon de _ Troisieme 
‘Classe,”’ was secured by Mrs. Henry} 
iO. Havemeyer. This great picture is 
one of four “variants” of the same sub- 


ject by "Demtaper. A larger canvas for 
which this was probably the model, 
was sold in the Doria sale in Paris in 
1899, another is in the Guillemart col- 
lection in Paris, and a smaller more 
sketchy work, was sold in the recent 
Chapman sale in this city. 
PURCHASES BY DEALERS. 
| M. Knoedler & Co. 


It will be re-| 
membered that Mr. Monell secured the 


Corot, “Bohemienné a OUtAIME ese a as $ 18,500 
‘Rousseau, “The Poo aCieaetar One 17,000 
‘Troyon, ““L’Approche Ges rage ote aie ats 21,100 
WGerome, “‘Bonmaparte-en Egypte’............ 3,500 
‘Detaille, ‘‘Prussian Cuirassiers Attacking a 
French CE OLION: SemMee ciianic ofa We seat e eet 6,300 
Rousseau, ‘‘La Mare a Piat, Forest de Fon- 
tainebleau” Rech aero easeasbeti Mais Ghai Mahon eee ens 9,900 
Rousseau, “‘Pool*tr the Forest”........... 3,800 
Alma-Tadema, “Unwelcome Confidences” Z,800 
|Teniers (younger), “Woman Smoking in Inn” 2,150 
'Gainsborough, “Caroline Antfe Horde”...... 10,000 
Wewtloogh sel be MUSIC: Party. orc oc s:. 60. oceue 5,100 
|Rembrandt, “Lucretia Stabbing Herself’’..... 130,000 
$230,150 
Dr. Paul Mersch, of Paris. 
pw ouwerman, ‘““The Sutler’s. Booth’ .., 0+ ss.0% $ 3,050 
RW ouwerman, Ia-AbDretvoir’ . .ctese see os we eb 2,500 
$5,500> 
Kleinberger Galleries. 
Yan Ostade, I., “Peasants before an Inn’... $4,100 
'Terborchs, Ga “Lady -Podurings Wite’s. 4. 35 op os ag Sp SA0) 
ALS eS 
$12,200 
Cottier & Co. 
Ae Albert, ““Mother and Children’”.... $2,100 
H. Schultheis. 
lyon Defregger, Franz, “The Adventure”’.... $5,00(i) 
R. C. & N. M. Vose (Boston). 
‘Monticelli, SSROIMAILLC ICE ¢ on ee &. aes Sic eee $2,000. 
Scott & Fowles Co. 
‘Romney, ‘‘The Willett Children”’........... $100,000 
Bipnpner= Mrs. Arbuthnot’ 7. sy dice eroelats oa 60,500 
Naonredes- Velde, W..%-Galme Seaw . ede iiss. 3,500 
‘‘Guardi, “Grand »Canal=Venice ies Sema cts ss 4,200 
(\Guardi, “Piazzi San Marco—Venice”’....... 5,000 
‘Lawrenée, SSMS Gua Ment cameras steer at ee ae ee ore econ 14,500 
‘Reynolds, REtgs; aL Off 1S: stern <5 sce eats eae 36,000 
‘Hobbema, “Castle Kostverloren®’ * ....5 o: cen 16,000 
(Millet, “‘Le Gardeur de Moutons”’..-....02. 22,500 
$262,200 
Ehrich Galleries. 
idee ouNSseLeneat Montainep lea’ sci. «ae $12,600 
E. Gimpel & Wildenstein. 
Rirelie, oT nhocen ce’: code wand oo ele oo eae pee $13,000 
Boussod-Valadon & Co. (Paris). 
Rousseau, ‘La .Plateau-dexBellecroix” iawn $15,200 
Dipre, ‘Pasturage near TIsle EA air terest < 4,200 
Dupre, “Summer Landscape” ale Po ek ot ees 25,1008 
Measuve, Winter Dandstape sig. 0s.++. <saemee 5,900 
$50,400 
Agnew & Sons (London). 
; Romney, Countess, o1 Gleimedirn 2 rah. cst $57,000 
ey. “Lady Hamilton as Madonmaseewe = 12,300 
MeOmen tine. Avalaenk ONLATIIC cs 6.26 cltieun re peonnaomee 5,500 
Corot, “Te Pont de Mantes”.........ssse. 22,000’ 
$96,800 
Durand-Ruel and Sons. 
Daumier, Honore, “Le Wagon Troisieme 
HEISE YS) SERS ga cot ey STR emg gree en ey $40,000 
Delacroix, “Combet en Algerie”... /cuw.cs. eet 16,000 
$56,000 
Georges Petit (Paris). 
DAG oven Wlantes= 14 e].GllC?25 5 cra5 secu em e+ 2 $2,600 
PRIVATE BUYERS. 
S. G. Bayne. 
iDe Neuville, “Transport of Prisoners’’....... $6,600 
Ex-Sen. Wm. A. Clark. 
Corot; . Le sbateaw au, Claiz- de-Lune’™.....% <0 $41,500 
ITA ory melee VV TLO WS “ndctey ate ceive seb sii 30,000 
$71, 500 
Mrs. Walter G. Ladd (Portland, Ore.). 
ae Rese UTISEE, ule edie Siw iin ol sersisca Wank Oa EG eke $12,500 
Diaz, “La Diseuse de Bonne Aventure’’..... 4,100 
$16,600 
E. Mallinkrodt. 
Reueiesk ee: dae Wateriallo sr. scm wee a eg 4,100 
W. R. King. 
DMonmoellimaourt, D’ Amour’? 24)... vice cels'ois os 3,600 
; W. B. Thompson, 
Corot, “La Cueillette au Bord dw Chemin”... 10,500 


an Dubie H. Behrens. 


MNOS RET . $6,000 
ee ace and Sheep” 


son onic: Cavalier” 


R. M. Parker. 
Turner, “Cliffs at Dover” 
Capt. J. R. De Lamar. 
“Bavarian Prioli@ay’ $8,600 | 
ot. | . Blum, “Ceiling 850 'F3 


i Sy $9,450 
Cc. =x. G. Billings. ge 
Old eerce, “The Willow Tree” $55,500 
A. Andersen. 
eigiaPadema, Po echates of Paula t. 
_ Jerome” $13,000. 
‘Dr. A. Canfield. 
‘Ruysdael, J., “The Cascade”’..... $10,500 
Miss E. R. Willineton: 
Siegert, A., “The Old Grandmother” $525 
thm Henry C. Lytton (Chicago). 
Morland, “Rustic Scene”’ 2,600 


Van Ostade, Ay “Backgammon Players’’.... $4,000 
i eniet alse <a sof Lay RISE, : 
Vynants, Jan, “Hilly Landscape with Grove” 1,600 
AGENTS BUYING. 
W. W. Seaman. 


Madsint, P ., “Edinburgh from Gogar”....... 
Hals, “Rev. Caspar Sibelius” 
Turner, “‘Regatta off Cowes’”..... ie ee es 
Millais, “The Pet Bird’. 
Dieffenbach, H. A., “The Foster ‘Mother” 
, “Les. Petits Nautoniers~ 
«9 Theological Dispute” 
as “The White Horse” 
“Approaching Storm” 


Otto Bernet. 


aes . $41,000 
R. H. Lorenz. 

Breton, “La Fin de la Recolte” $14,800 

Inness, “Sunset—Montclair” 24,000 

Dupre, ‘‘Landscape”’ 4,200 : 


ON FREE PUBLIC VIEW 


- i o AT THE 
es 4 AMERICAN ART GALLERIES 


iS iW _ MADISON SQUARE SOUTH, NEW YORK 
— fa? at 
BEGINNING FRIDAY, FEBRUARY 7, 1913 
AND CONTINUING 
_ UNTIL THE DATE OF PUBLIC SALE, INCLUSIVE 


COLLECTED BY THE LATE 


M. &. ay BORDEN, ESQ. 


_-~«*-T0 BE SOLD AT UNRESTRICTED PUBLIC SALE 
‘ ee BY ORDER OF THE EXECUTORS ) 

‘a ON THURSDAY AND FRIDAY EVENINGS 
ee FEBRUARY 18rTH AND 14TH 

| oe IN THE GRAND BALLROOM OF 

ie | mee THE PLAZA 

La | FIFTH AVENUE, 58ru TO 59rH STREETS 

. NEW YORK 


57 


ILLUSTRATED CATALOGUE 


OF THE 


NOTABLE PAINTINGS 
BY GREAT MASTERS 


MC. D. BORDEN, lise. 


A REVISED AND CORRECTED ISSUE OF THE PRIVATELY PRINTED 
DE LUXE CATALOGUE WHICH WAS PREPARED FOR 
THE LATE MR. BORDEN BY DR. WILHELM R. VALENTINER AND 
MR. AUGUST F. JACCACI 


UNRESTRICTED PUBLIC SALE BY ORDER OF THE EXECUTORS 


IN THE GRAND BALLROOM OF 


THE PLAZA 
ON THE DATES HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
THE AMERICAN ART ASSOCIATION, MANAGERS 
6 EAST 23rp STREET, MADISON SQUARE SOUTH 
NEW YORK 
t913 


SS 
ae 


- 
a 
( > 
Se oe. 
wae 
- 
} \ é 


CONDITIONS OF SALE 


1. The highest bidder to be the Buycr, and if any dispute arises 
between two or more Bidders, the Lot so in dispute shall be immediately 
put up again and re-sold. 

2. Ihe Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and therefore, in his judgment, 
likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to pay 
down a cash deposit, or the whole of the Purchase-money, if required, 
in default of which the Lot or Lots so purchased to be immediately put 
up again and re-sold. 

4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless other- 
wise specified by the Auctioneer or Managers previous to or at the time 
of Sale, and the remainder of the Purchase-money to be absolutely paid, 
or otherwise settled for to the satisfaction of the Auctioneer, on or 
before delivery; im default of which the undersigned will not hold them- 
selves responsible if the lots be lost, stolen, damaged, or destroyed, but 
they will be left at the sole risk of the purchaser. 

5. While the undersigned will not hold themselves responsible for 
the correctness of the description, genuineness, or authenticity of, or 
any fault or defect in, any Lot, and make no Warranty whatever, they 
will, upon receiving previous to date of Sale trustworthy expert opinion 
in writing that any Painting or other Work of Art is not what it is rep- 
resented to be, use every effort on their part to furnish proof to the 
contrary ; failing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he being liable to the 
Owner or Owners thereof for damage or injury occasioned thereby. 

6. To prevent inaccuracy in delivery and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be removed 
during the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared within 
one day from conclusion of Sale (unless otherwise specified as above) 
shall be re-sold by public or private sale, without further notice, and the 
deficiency (if any) attending such re-sale shall be made good by the de- 
faulter at this Sale, together with all charges attending the same. This 
Condition is without prejudice to the right of the Auctioneer to enforce 
the contract made at this Sale, without such re-sale, tf he thinks fit. 

8. The Undersigned are in no manner connected with the busi- 
ness of the cartage or packing and shipping of purchases, and although 
they will afford to purchasers every facility for employing careful 
carriers and packers, they will not hold themselves responsible for the 
acts and charges of the parties engaged for such services. 


THe AMERICAN ART ASSOCIATION, Manacers. 
THOMAS E. KIRBY, AvcTioneEr. 


' REPRODUCED FROM 
vu E CATALOGUE PREPARED BY THEM FOR THE LATE 


ms 
“ae ! M. C. D. BORDEN, ESQ. 


PIES TET aM Ge SA, 


PAINTINGS BY OLD MASTERS 


By WILHELM R. VALENTINER 


DUTCH SCHOOL 


The principal pictures of the old masters in Mr. Borden’s 
collection are works by recognized masters of the best period 
of the Dutch School, the second third of the seventeenth 
- century. ‘The various manners of expression of Dutch paint- 
ing are excellently represented: the portrait, genre, landscape 
and seascape; even subjects of classical antiquity, which are but 
seldom and with little success cultivated in Holland, are rep- 
resented by a masterpiece of Rembrandt’s, “Lucretia Stab- 
bing Herself.” 

We shall begin with Frans Hals and Rembrandt, the 
great men who dominate the school by their strong personal- 
ities, and force into the two distinct channels they individually 
follow all its lesser masters. Although Frans Hals lived to see 
the fruits of peace begin to ripen in his later years, he repre- 
sents the people who lived in a state of war, the long war in 
which Holland and the whole of Europe were engaged in at 
the time. Rembrandt, who belongs to a little younger genera- 
tion, is the representative of the same community in a state of 
peace, and his style, full of feeling and thought, was developed 
under the stimulus of the hard and rough experiences of the 
preceding period. Yet Frans Hals’ artistic activities extended — 
almost to the death of Rembrandt; his realistic conception, 
depending upon momentary expression, and that of Rem- 
brandt, quiet, soulful and absorbed, are therefore contempo- 
aneous. We may safely say that one was evolved from the 
other, and also, that the manner of Rembrandt dominated 
Dutch art after the fifties. 


_- Ne See . . . 24 hs 
. 


These two absolutely different conceptions are very well 
illustrated by two works in the possession of Mr. Borden: Hals’ 
portrait of the “Reverend Caspar Sibelius,” dated 1637, and the 
“Lucretia” of Rembrandt, painted in 1664. ‘The Hals is one 
of the works in which, concentrating his broad, free art within 
the limits of a small canvas, the artist accomplishes all the more 
astonishing results. As soon as it was completed, this painting 
was twice engraved by J. Suydenhoef, one of the best Dutch © 
engravers of the time, and has become especially well known 
for that reason. Since several pictures by Frans Hals, and of 
similar size, are available in engravings of the time, it is logical 
to assume that the artist chose a small canvas, to which he was 
unaccustomed, out of consideration for the engraver. ‘The work 
belongs to the best period of his career, when with his peculiar 
vivaciousness he combined a comparatively painstaking and 
finely studied technique; when instead of the rugged figures of 
his earlier period he pictured jovial contentment, and sup- 
planted by the transparent gray tone his early garish color 
schemes. It was, furthermore, in the latter half of the thirties, 
the time when this portrait was painted, that Frans Hals 
painted some of his best works: the “Portrait of a Painter” 
and the “Portrait of an Old Woman” from the Yerkes Collec- 
tion, both of 1635, and both now in the Frick Collection; the 
portrait of Michiel de Wael (1638) in the possession of Mr. 
Morgan, and the two companion pictures of the same year, in 
Frankfort. It is rare that we should know the personality of 
Hals’ sitters, as in this case of Sibelius, who was born in Ger- 
many and enjoyed a reputation as a preacher in England, 
Switzerland, and finally also in Holland. If the inscription 
on the back of the canvas is correct, we also know the name of 
its first owner, a certain Professor Hoffmann, to whom it is 
said to have been presented by Sibelius himself. 


We may wonder how it came about that an artist like 
Frans Hals, whom we picture mentally as a manner of Falstaff, 
should be particularly successful in portraying ministers of the 
Gospel; yet he painted many of them. It is clear that an under- 
standing of naive piety, such as was imparted by gentle preach- 
ers, Was not incompatible with the rough belligerent natures of 
that time. In fact, war itself aided in furthering the influence 
of the priests, for a nation whose chief preoccupation is the 
defense of its territory is more apt to give the church its rights 
than a people living in peace and having time for reflection and 
therefore for scepticism. ‘These Dutch ministers also seem to 
have fostered a simple conception of life quite in accordance 
with the practical problems so close at hand, and by means of 
a jovial cordiality to have brought themselves close to their 
flock. Sibelius is not portrayed as a complex nature; on the 
contrary, his friendly bearing, the clear, intelligent look in his 
small eyes, the encouraging, eloquent position of his hands, do 
not reveal a man of philosophical and speculative mind with 
thoughts running in deep channels, but one of simple nature 
who understands his immediate task of heartening and com- 
forting. The artist himself was the same sort of man as his 
sitter. a: 

Frans Hals’ art depicts instantaneous impressions, and it 
is for this reason that his figures seem so direct and lifelike to us. 
But one artist above all others, Rembrandt, understood the 
combination of reality with delicately shaded psychic expres- 
sion. His picture in the Borden Collection is a striking ex- 
ample of this combination. It belongs to the artist’s later period 
and is one of the most magnificent and effective of his works. 
Toward the close of his career the artist confined himself to 
painting figures, somewhat statuesque in character, whose 
drastic gestures are similar to those used in operatic acting; the 
whole field of expression being transferred to the depicting of 


the inner life, and the rendering of the atmosphere in which 
his figures are placed. Such, surely, is the case with Lucretia. 
Her pose seems borrowed from the theater; she stands as 
though in the center of the stage, with both hands equally 
raised. This subject of Lucretia in the act of self-destruction 
was not a new one, and it is quite possible that the artist knew 
some of the pictures by the great Venetian artists, Titian and © 
Palma Vecchio, where the dying Lucretia is represented at 
half length. In the figure of the Northern master we do not 
readily note anything unusual. Primarily we recognize a well- 
known model often used by him in his later years, and that she 
wears a costume and jewelry we know to have belonged to him. 
The picture therefore has a portrait-like character. In fact, 
the whole of Rembrandt’s work is portraiture. . But despite 
this simple, almost crude composition, there is something in the 
picture which makes it one of the wonderful creations of the 
great artist. Considering first the. technique and color, one sees 
the figure looming through a flood of golden tones laid in 
broad masses and glittering in the jewelry; and the pale face 
appears as seemingly blurred by a diaphanous veil of sunny 
mist. At every point one is made aware of the master hand 
schooled in hundreds of pictures which are great achievements; 
the broad strokes, accurately subservient to the will, clearly 
indicate that disdain for the vehicle which only the greatest men 
can show, and only in their best works, and then unconsciously. 
But all this external splendor is surpassed by the intensity of 
psychic expression. Who can resist the appeal of this pitiful 
face, so despondent in its mental anguish; or the suggestion of 
life seemingly ebbing from the body even before the dagger has 
touched the breast; or again, the effect of this most touching 
silhouette of the slightly inclined head, and the hand out- 
stretched in a gesture which speaks of fear and resignation? 
Quite unique in art is this combination of a broad decorative 


effect with the extraordinary expression of distinct feelings, 
seemingly too subtle for expression with the brush; the com- 
bination, furthermore, of the real and convincing human appeal 
of the portrait with the distant fantasy of an Oriental fairy tale. 
It is perhaps because of the concentration of the whole action in 
a single figure that, just as thoughts flow most freely in a 
monologue, the artist has succeeded so strikingly in his presen- 
tation. 

Apart from Hals and Rembrandt, the remaining masters 
of the Dutch School can be grouped according to their respec- 
tive fields. At the same time it is obvious that practically all 
_are under the influence of the two great masters, and that many 
of them have developed from the manner of Frans Hals into 
that of Rembrandt. This is notably the case with the genre 
painters, who are represented by four pictures—one by Ter- 
borch, one by each of the Ostades, and one by Cuyp. Of all 
but the last of these it may be said that they came from the 
school of Frans Hals and were later influenced by Rembrandt. 

Terborch is the best representative painter of genre sub- 
jects depicting the life and manners of the upper class in 
Holland; and his own life illustrates the rise of the professional 
artist to a higher social position. ‘Terborch was born in 1617 
and is ten years Rembrandt’s junior. ‘Two generations of im- 
portant masters had preceded him; his father was himself an 
industrious painter holding an official position in his home 
town, Zwolle; therefore in the choice of a profession he had no 
such parental difficulties to overcome as had Rembrandt. He 
could afford to travel, first in Holland, then in England and 
practically on the whole Continent, and had every opportunity 
for the cultivation of his art. As early as in the forties he 
became the painter of the highest political circles of the time; 
in 1648 he painted the assembled delegates to the Congress of 
Miinster at the close of the Thirty Years’ War; later he was 


| 
7 


called to Madrid by the Spanish Minister Peneranda and is 

there said to have painted a likeness of Philip IV. When, — 
after traveling in Italy and England, he returned home, settling — 
down and getting married in Deventer, he was overwhelmed — 
with honors and received from distinguished citizens and states- 
men enough commissions to keep him busy for the rest of his 
days. That the artist was a man of the world and of good 
breeding may be gathered from his portrait in Spanish costume 
by his own hand which is now in the Gallery at The Hague. In — 
the development of his art we note the growing social prestige 
which he enjoyed. The military pieces betraying the influence 
of Frans Hals belong to his early years; in his middle period, 
the late forties, he painted the charming genre subjects, full of 
a sedate and well-bred bourgeois atmosphere, which depict his 
own domestic environments; and in the work painted in the 
fifties appear satin robes and cavaliers in scenes of the life of the 
beau monde. 'The feeling for elegance, which presupposes a 
broad knowledge of the world, manifests itself in his easy, fluent 
technique, and in the influences which swayed him. Just as he 
follows Frans Hals in his earlier period, so later he is influenced 
by the Dutch painters of the bourgeoisie, and what is more, his 
versatile art shows also the influence of the great foreign artists 
—Titian, Velasquez and Van Dyck. 

The picture in the Borden Collection is of the middle 
period and is quite after the manner of Metsu, who, being the 
younger, must have been the borrower. Furthermore, the 
strong vermilion in the costume of the young woman—a color 
rarely found in 'Terborch—as well as the chiaroscuro, shows that 
this picture originated at a time when Dutch artists worshiped 
at the shrine of Rembrandt. While the women in the group 
belong to the simple bourgeois class, the elegantly dressed 
cavalier evidences that tendency of the artist which was soon 


to help him get out of this environment into the aristocratic 
world. 

Aelbert Cuyp, who is represented in an unusual way by a 
genre picture, enjoyed like Terborch the respect of his com- 
munity. He filled important and honorable positions in his 
native town of Dordrecht and was the owner of a small estate 
outside the city. Unlike Terborch, he felt no desire to travel, 
but remained always in the quiet mliewu whence he came, and 
only the warm southern light which appears in his landscapes 
indicates an appreciation of other climes. “The Mussel 
Eater” also gives a faithful picture of the surroundings 
of the artist. We look into a smithy in which the owner 
sits upon the anvil. Before him is a bowl full of mussels, 
one of which he is eating while two children interestedly 
follow his motions. ‘The somewhat stiff attitudes leave no 
doubt that the three are portraits,and that this picture is 
a group of portraits arranged as a genre scene, as is further 
demonstrated by the two men looking in at the window to 
the right who are also treated in a decidedly portrait-like 
-fashion. It may be that the older man is the paterfamilias 
and the other his son. At any rate, this picture is a reproduc- 
tion—either executed by the artist or done by a pupil—of a 
larger one in the museum at Rotterdam, from which it differs 
in several details. ‘The somewhat unnatural position of the 
hand of the older man in Mr. Borden’s example is explained by 
the Rotterdam picture in which he holds a glass of wine; the girl 
in the latter holds an apple instead of a pipe, and the child’s 
head just visible behind the barrel, as well as the cat in the fore- 
ground, have been entirely omitted in the present canvas. Also 
the complete signature, A. CuyP FEcIT, is replaced in our pic- 
ture by the monogram A. C. 

In Pieter de Hooch’s “Music Party” we have a typical 
‘example of the genre picture of aristocratic subjects, the third 


phase of Dutch genre art, when it came under French influence 
and began to lose its national character. Pieter de Hooch was 
not an artist of social standing like Terborch or Cuyp; he lived 
in extremely poor circumstances, having started in life by being 
a servant in a noble household. But together with the two 
masters we have just mentioned, as well as with all the artists 
who lived until about 1680, he was affected by foreign influ- 
ences. His artistic development is of a kind with ‘Terborch’s. 
Like him, he began with military pieces, then in his middle and 
best period he painted bourgeois genre pictures, and in his later 
period he depicted scenes of the life of the higher and more 
elegant society. But in his last period is also to be noted a 
decrease in artistic feeling, greater in his case, and perhaps the 
result of discouragement at his lack of success. ‘The picture in 
the Borden Collection is one of the best in his last manner. 
While the drawing of the figure is heavy and the whole arrange- 
ment somewhat stiff, the picture nevertheless has excellent 
qualities. Several of the faces, not de Hooch’s strong point by 
any means, are especially attractive and the garments are 
painted with a fine feeling for texture and a good sense of 
color. ‘The influence of French academic art manifests itself in 
the emphasis laid upon horizontal and vertical lines, by means 
of which the figures at the table are practically enclosed in a 
square. ‘The garden, which is also in the French style, and 
arranged and pruned in rectilinear fashion, contains a structure 
in the classic style patterned after the Amsterdam City Hall. 
The best representative painters of genre subjects of the 
lower classes, Jan Steen alone excepted, are the two Ostades, 
each of whom is represented in the Borden Collection: Adriaen 
by an interior with gaming peasants, Isack by an inn stable. 
The older Ostade employed his great and long admired art in 
the presentation of the chiaroscuro of picturesque peasant 
interiors within which the gaudy costumes of stoutish inmates 


“ 


compose subdued harmonies; while the younger brother pre- 
ferred to reproduce the chiaroscuro of outdoor scenes in the late 
afternoon under the shady trees and bowers sheltering peasant 
cottages. Isack stands in the same relation to Adriaen Ostade 
as does Hobbema to Ruisdael. Isack is the pupil and the more 
temperamental of the two; like Hobbema, he achieves in his 
best works more fascinating effects than the older master; but, 
on the other hand, he is less balanced, and seldom succeeds in 
doing his best unless when guided by youthful impulse. Like 
him also, he is monotonous in his composition as well as less 
original, but broader in his execution and in his light and color 
effects. The composition of the charming picture in the Borden 
Collection is, like that of the majority of his pictures, reminis- 
cent of an older style, that of older landscapists—Van Goyen 
and Pieter Molyn. It is planned diagonally, the perspective 
deepening toward the right from a corner in the foreground; 
and conditioned by this, the light is disposed in such manner 
that each bright portion of the picture alternates with a dark 
one, so that by this means the depth of space is more definitely 
rendered. Also in general color tone and in technique Isack 
approaches preceding works more closely than his older brother, 
as was natural, since he was young (he died at thirty-seven). 
In the peasant types he imitates his brother; but in the golden 
color scheme, in which a few warm greenish-blue and yellowish- 
red tones are prominent, he follows Rembrandt, who at the 
time of the painting of this picture, the forties, was at the height 
of his reputation. With all this is allied a sort of romantic 
apotheosis of peasant life on the Dutch high-roads which 
belongs to him alone, and renders his achievement the perfected 
climax of the method first followed by Molyn and Van Goyen. 

Adriaen is more realistically and perhaps also more pedan- 
tically inclined, but his execution is more artistic and more 
accomplished; and he disposes his light and colors more evenly 


and harmoniously. It is in a picture like that in the Borden 
Collection that he shows himself to advantage. It presents the 
best of his art, showing neither the somewhat brutal conception 
of his earlier works nor the hard coloring of his later manner. 
The composition seems unintentional but is complete; the com- 
plex arrangement of the room does not have a restless effect 
despite the large number of objects on the walls, while the 
figures give a happy and comfortable impression. 

While the art development of the two Ostades shows ae 
decidedly the peaceful spirit of the Rembrandt tradition, we 
find in Wouwerman, however, a late representative of the 
military manner of Frans Hals. It may be said that he is the — 
last painter of the soldier subjects favored by the latter’s school, 
although his style is rather reminiscent of Rembrandt’s. ‘The 
two pictures in this collection are characteristic. ‘They show 
his preference for scenes of action from military or country life 
in the restless regions affected by the war, where numerous 
groups of figures are arranged in a rich and well-composed pic- 
ture. His motives, filling the canvas even to the corners, are 
inexhaustible; the drawing and, above all, the move- 
ment of figures and animals—not generally the strong 
point of the Dutch School—are excellent; and _ the 
technique has a fluency which hints at French eigh- 
teenth century art. The superiority of the artist, how- 
ever, as compared with his predecessors, Palamedes, Esaias 
Van de Velde, Duyster and others, lies in his understanding of 
the art of distribution. Among these men we still have the 
relief conception of Frans Hals, which usually permitted the 
consideration of only the foremost plane; here, on the contrary, 
we find the plastic style of the baroque of Rembrandt and his 
contemporaries, with their greater richness and variety of 
forms. Whenever the figures of the foreground allow a per- 
spective view, the eye is attracted into the middle distance by 


= 


spirited figures, and new motives lead still further on, out into 
the background where ranges of hills and a well-composed, 
plastically clouded sky deepen the distance. 

Dutch landscape painting is represented in pictures by its 
two most important masters, Ruisdael and Hobbema; by a 
‘seascape from the brush of one of its best sea painters, Willem 
Van de Velde, and a landscape of dunes by Jan Wynants. The 
first among these men is Jacob Ruisdael, who, despite a momen- 
tary vogue for Hobbema, still remains the great master of 
Dutch, and, in fact, of all earlier landscape painting. His two 
pictures here present similar motives—in each case a waterfall 
crossed by a footbridge and bounded by rocky and wooded 
banks—and both date from the later period of the artist. Pic- 
tures of this kind, of which Ruisdael produced a large number 
in the later years of his life, occasionally suffer the not un- 
grounded objection that they are too consciously composed and 
one censures the deficient conception of the artist who presum- 
ably never saw waterfalls and mountains. This, however, is 
not the case in his best works, of which the great waterfall in 
the Borden Collection is an instance. It manifests in the high- 
est degree the poetic feeling which raises the artist above all 
landscape painters of his time. That which we so often find 
wanting in Dutch landscape work, the feeling of unity to which 
all detail is subordinated, is perfectly expressed in these pictures 
which are the outcome purely of the imagination. The longing 
of the Dutch people for the mountain scenery which is lacking 
in their native land has found expression at the hands of Ruis- 
dael in these pictures composed of strongly drawn mountains, 
tumbling waterfalls and dense oak forests, under a lowering 
sky, broken only by a pale green sheen at the horizon. And 
this form of expression seems to us actual, because the artist’s 
fancy and his extraordinary memory for the individual features 
of nature have been guided by a hand tested in decades of 


experience; and because they are the creations of a serious and 
reflective mind, which, during his later years, deeply felt the 
noble and solemn beauty of melancholy regions overcast with 
gloomy clouds, where he was more at home than in sunshiny 
scenes. 

Compared with Ruisdael, Hobbema has a more friendly 
air; he does not wander far, but exerts all his powers in the por- 
trayal of serene and poetic forest landscapes such as he sees 
about him. This picture of the Castle of Kostverloren belongs 
to his earlier period, when he kept especially close to nature. It 
is a simple study which was executed in the autumn, perhaps 
on the spot, or after only slightly altered preliminary sketches 
and without much thought for composition. This castle, built 
in the fifteenth century and now no longer standing, was several 
times painted by the artist. In one of his pictures, which was 
sold at Amsterdam in 1907, the tower is seen from the side 
where stands the chimney, and in the wall of the main building 
the remains of a gable may be distinguished. 

Jan Wynants also presents a typical Dutch landscape in a 
picture of dunes with blasted oaks by the roadside, a landscape 
of the type which one finds in Guelders, a region which because — 
of its dunes and woods often lured the Haarlem painters—of 
whom Wynants was one—into study trips. But we must not 
believe that this landscape is an accurate transcript from nature. 
From other works of the artist we know that certain features, 
such as blasted trees, the sandy road leading around the hillock 
and from which an old pale-fence straggles down, and even the 
deep blue sky with isolated lumpy clouds, are typical composi- 
tion motives of the artist that have been used by him often. 
Though handicapped by the somewhat hard and lifeless style 
which is particularly characteristic of his later pictures, his 
compositions make a pleasant impression because of their well- 
balanced proportions and especially when they are enlivened, as 


“ 


in this case, by figures painted in by that great little master, 
Adriaen Van de Velde. 

In Dutch art, paintings of the open sea are seldom met 
with, no doubt because, the artistic centers of the country being 
mainly inland, the artist did not then experience the desire— 
which has been awakened by modern city life—to settle some- 
where on the seashore far away from the world. ‘The picture 
by Willem Van de Velde, dated 1661, and belonging to his 
Amsterdam period, represents not the open sea but the Zuyder 
Zee, which was nearer the painter’s home. He achieved his best 
work when depicting a quiet, sunny afternoon, with the water 
clearly mirroring yellow and brown sails, and ships outlined 
in the distance against a warm hazy sky. 


FLEMISH SCHOOL 


The ensemble of Flemish painting in the seventeenth 
century is not as many-sided as that of the Dutch School; above 
all, the specialists, commanding a small field to perfection, are 
lacking, as though they had been unable to develop beside the 
dominating Rubens. It is therefore quite proportionate to the 
representation- of the Dutch School, in this collection, that 
Flemish art should appear in but few examples—a portrait by 
Anton Van Dyck and a genre picture by David Teniers. 

The portrait by Van Dyck is a masterpiece of the artist’s 
Antwerp period, the period when he acquired the mastery of 
simple noble forms, and showed as much mental composure as 
was compatible with his restive and nervous temperament. It 
represents, very likely, the famous engraver Scheltius a Bols- 
wert, who was the best of the engravers of Rubens. ‘This is 
proved by a seventeenth century print by Adrien Lommelin 
which states the person represented is Schelte or Bolswert. The 
wild passion of precocious youth, the noisy elegance of the 


Genoese period, had been conquered, and the artist painted in 
his home city, Antwerp, a series of portraits distinguished by an 
intensive characterization of the heads, simple from outlines, 
and a reserved gray tone. In the careless, indolent position of 
the hand in our portrait we already detect the approaching note 
of his English period, but the quiet and impressive head shows 
still the stamp of individuality. A late copy of this picture, 
which is still catalogued as the original, is now in the museum at 
Douai, and the sitter is designated as Hubert Duhot. It is a 
moot question to what extent this designation is justifiable, and 
whether or not it is based upon tradition. 


Having first considered Dutch painting, Flemish pictures — 


seem less varied in their types, less individual in their char- 
acteristics. Teniers is a marked example in point; he repeatedly 
uses the same types, even upon the same canvas. For instance, 
the lover in the foreground of the picture in the Borden Col- 
lection figures also as one of the men near the fireplace. That 
which interests us principally in Flemish, as compared with 
Dutch painting, is the fluent technique reminding one of French 
art and sharply distinguished from the heavy impasto of the 
Dutchmen, as well as the omission of useless details, and the 
bright fresh coloring which lends even to serious scenes a festive 
character. In this particularly well-preserved and excellent 
example these traits are pleasingly obvious. -The room is not 
overburdened with detail, as is often the case in Dutch interiors; 
even the dog and the still-life are painted with a freedom and 
a feeling for essentials which bring to mind the work of the 
greatest master of still-life in France, Chardin. ‘The couple 
in the foreground is not only well composed and excellently 
drawn, but also exceptionally effective in its scheme of color, 
notably in the garments of the woman, her blue skirt, red bodice, 
white shift and cap.- The picture depicts that peasant life for 
the portrayal of which Teniers is famous. 


FY 


ITALIAN SCHOOL 


We do not stray far from our field if, in conclusion, we 
consider two paintings of the Italian School: Venetian views by 
Francesco Guardi—for the Venetian School is more intimately 
related to the Dutch than is any other of the Italian Schools, 
and comparison between Dutch and Venetian art has often 
been made. The similarity lies in the influence exerted upon 
art by partly similar climatic conditions. Much moisture in 
the atmosphere creates a fine silvery haze which veils the con- 
tours of the objects and gives greater interest and significance 
to atmospheric appearances. Dutch, as well as Venetian paint- 
ing, is therefore remarkable in its rendering of air and light, 
and among the Venetians no one understood how to reproduce 
in his pictures the shimmering sun of Venice as Guardi. Truly, 
in the art of Guardi we are considerably removed from the 
Netherlands, not only geographically, but because the sun of 
_ the south was an inspiration for a brighter and infinitely more 
brilliant scale of colors. Perhaps the more important difference 
is that of time; the great Hollanders belong to the Baroque 
period with its feeling for massive, heavy forms, for strong 
contrasts of light and shade, and for cumbersome drawing. 
Guardi is a representative of the Rococo, which transformed 
heavy forms into well-composed masses, straight broad lines 
into short and elegant curves, and which brightened chiaroscuro 
and brought out scintillating light. If we compare this view 
of the square of St. Mark with Mr. Borden’s picture by Pieter 
de Hooch, where the artist obviously strove for elegance and 
brilliant light effects, it is evident that Guardi belonged to a 
more advanced and a happier time, to a period of easier living. 
The two paintings, the view of the Canale Grande and that of 
the Piazza San Marco, are small but excellent examples of his 
versatile and charming art. 


PAINTINGS OF 
THE ENGLISH MASTERS 


By AUGUST F. JACCACI 


In Mr. Borden’s collection of English pictures, all the 
leading eighteenth century portrait painters, with the exception 
of Raeburn, are represented. In a manner of their own suited 
to the taste and needs of the period, the painters of this school 
carried on the gracious and urbane style of Van Dyck, as well 
as the traditions of the old Italian masters, especially those of 
the Venetians, which came partly through Van Dyck, and in 
the case of Sir Joshua were renewed at their source. A certain 
union of dignity, grace, ease, and the adaptability of the por- 
trait to a decorative arrangement as established by the painters 
of the grand life of Venice, by ‘Titian especially, is thus carried 
into the eighteenth century, but the subjects and the art are 
native. While the Italian tradition predominates only in the 
works of the famous first president of the Royal Academy, and 
the production of each artist has its originality and distinct 
characteristics, its marked difference of temperament and edu- 
cation, all endeavored to give the particular elegance, the well- 
bred manner which was the cachet of English society at the 
time, all found their individual mode of expression within this 
general desire—and, no doubt, necessity—to depict the refine- 
ments of life. Hence their air de famille. They all are, like 
their illustrious predecessor Van Dyck, painters of fashion, who 
only saw their sitters (whether of high or low degree) in atti- — 
tudes and with expressions which were recognized as de bon ton 
in the fashionable world. Even when they were not men of 
culture, they reflected the amenities and polite graces of their 
cultured milieu. We may add that it was their great good for- 
tune—and ours—that the taste of their time was good, and the 


costumes simple, most becoming and eminently paintable. Pic- 
torially and psychologically the portrait painters of the eigh- 
teenth century English School have met their problem and 
used their material with fine results, and deservedly achieved 
a great success. 

Mr. Borden’s collection comprises some typical examples. 
In “Miss Morris” the seriousness and intellectual weight which 
belong to Sir Joshua, the acknowledged head of the school, and 
to him alone, are clearly evident; and they are here allied to a 

sense of composition quite free from conventional canons. ‘The 

ingratiating personality of this straightforward, innocent and 
sensible young lady is rendered with authority as well as kindly 
understanding. With all that innate elegance which is the dis- 
tinguishing mark of the art of the period, this canvas has the 
poise, the dignified tenderness of the artist; and the grave 
sympathy, the unaffected and penetrating straightforwardness 
of its portraiture, are revealed in the noble simplicity of its 
treatment. | 7 

Gainsborough’s portrait of “Miss Horde” has all his verve, 
finesse and his unrivaled piquancy of execution. The lightness 
and grace of this work in oils has the playfulness of touch, the 
daintiness of improvisation, of a pastel, and is admirably suited 
to the presentation of so vivacious, spirituelle, and entirely 
sophisticated a young person. Sitter and painter present the 
critical and philosophical attitude of the eighteenth century. 
The artful simplicity of pose and costume give extraordinary 
interest and importance to the sgwardo, the look in the eyes, 
and to the smiling mouth. This most expressive and delightful 
piece of characterization is carried out in a subdued and har- 
monious scheme of color. 

The dash, abandon and supreme cleverness of the great 
virtuoso of the school, Sir Thomas Lawrence, are fully revealed 
in his “Miss Kent.” And it is the more valuable an example 


md 


that it retains the freshness and attractiveness of a happy, 
thoroughly artistic and satisfying improvisation. Cleverness _ 
allied with elegance and painter-like feeling can go no further. 


Costume and draperies are merely brushed in, and in contrast, 


the head, which is carried much farther, acquires the finished 
bloom of a perfect flower. The face in profile is representative - 
of the English “beauty” of the time, for it is evident that the 
“classic” type, which was then in fashion, affects the por- 
traiture. : 
Romney has a full and varied representation. An im- 
portant composition, “The Willett Children”; an almost full- 
length portrait said to be the “Countess of Glencairn,” and an 
idealistic representation of his favorite model, Emma Lyon 
(Lady Hamilton), as Madonna, whose pseudo-religious char- 
acter gives the manner in which the classical subjects of the 
Italian School were adapted to the taste of polite English 
society of the time. ‘The Countess is an entirely representative 
picture, although the lower part of the dress has either been 
repainted or was finished by another hand. The natural and 
graceful pose, which recalls another celebrated portrait of the 
artist, of Miss Frances Woodley, brings out the feminine 
charm of the no more young but still most attractive sitter. 
The débonnaire treatment has an easy assurance and a sum- 
mary decorative sweep. The lady who is not absolutely identi- 
fied may be the Lady Bell Cunninghame of whom, according 
to Romney’s ledger (under No. 33), he painted a half-length 
and two whole-length portraits, of which only one was finished. 
Lady Bell was Lady Isabelle Erskine, second daughter of the 
Tenth Earl of Buchan. She was first married to William 
Leslie Hamilton, and secondly to the Rev. John Cunningham, 
who afterwards became the Fifteenth Earl of Glencairn. We 


have a list of the many sittings she gave to Romney during her 
first and her second marriage. 


¥ 


The large and important “Willett Children” is beautifully 
handled in an assured and convincing manner of presentation, 
which is so thoroughly suited to the subject as to be a part of it. 
Its composition seems as spontaneous as its technique; both 
have the look of being born together by happy chance. The 
background is amusing in its rapidly sketched indication 
of a landscape motive, but it also plays its part well in the 
general arrangement, and in tone and color it admirably fulfils 
its function of bringing out the figures. The grouping of the 
children might seem casual, but in reality it is carefully thought 
out and is most effective—only there is no trace of effort, all is 
perfectly natural; yet poses, faces and expressions are full of 
character and each child has his clearly defined individuality. 
One feels sure that here are good portraits. And when one 
remembers how few great portraits of children there are in the 
whole field of art, one realizes how precious is this rare gift, this 
true understanding of childhood which Romney shows in such 
a canvas. It is one of his most successful works, and, like the 
“Countess of Glencairn,” it has that unaffected grand air which 
is what eighteenth century patrons desired and what remains 
to us also a large part of their appeal. 

In the Hoppner “Miss Arbuthnot” we find the same view- 
point as in the works of the other and greater men, and, in a 
measurable way, it achieves the same success. It is a triumph 
of distinguished and rather sophisticated simplicity. Out of 
most ordinary material, of a face with no particular beauty or 
specially marked character, the eighteenth century convention 
(a most happy one in this instance), while expressing enough 
of the real facts, presents them with so fine a sense of elegance 
and breeding that as a result the picture is extremely attractive. 
The excellence of the general arrangement makes one pass over 
the faulty draughtsmanship in the lower part of the figure. 
One wonders if the artist was deprived of the one more sitting, 


or the few more moments he needed. But it may well be that 
the artist did not care, and why should we? Are not all the 
essentials of the portraits there, all that is significant and 
matters? Does not the work tell—as it should—and tell 
gracefully and with most capable understanding? Is not the 
characterization excellent, the landscape background fine and 
the whole result delightful ? : 


When these portrait painters make use of nature in their 
backgrounds, they cannot but arrange it to suit their purpose. 
Having to be subordinated to the figures, it has to be treated 
artificially—much like a piece of tapestry suspended behind the 
sitter. Even Gainsborough, who was both landscape and por- 
trait painter (and seldom introduced landscape backgrounds 
in his portraits), and who painted some excellent landscapes 
during his early period when he took his inspiration from the 
Dutch masters and was concerned with real facts, soon fell into 
making use of nature in painting landscapes which, while deco- 
rative and beautiful, are essentially arbitrary arrangements. 

The English landscape painters on the contrary went 
straight to nature for their facts and their inspiration. Of 
course they knew and admired the Dutch and Flemish masters 
and they loved Claude, but they took their subjects from the 
familiar nature around them, and to express themselves they 
developed a manner of their own. They mark the starting 
point of modern landscape. Constable was the precursor of 
the great Frenchmen of 1830, and we know what a revelation 
his work was to them and how it inspired them. 

Of him Mr. Borden has a small early example, “The 
Sluice,” one of those thorough studies of facts upon which are 
built the fresh, luscious and radiant achievements of his 
maturity. 

“The Willow” is one of the most important and best known 


pictures of John Crome (“Old Crome’). It figured twice, 
1876 and 1891, at Winter Exhibitions of Old Masters at Bur- 
lington House, and is considered the artist’s masterpiece by Mr. 
J.C. Horsley, R.A., who selected the English pictures for both 
exhibitions. The two old trees which dominate the composition 
give it a nobly dramatic character. Warm glowing color is 
allied to solidity of construction, the peaceful country stretch- 
ing out to the distance is bathed in soft sunshine; in the moist 
and luminous sky, tenuous summer clouds float across the azure. 
In this picture the dignity of a Dutch formal composition is 
united to a fresh native outlook. While this Dutch influence 
is marked, Crome is too real, too profoundly sensitive to nature 
itself, for the work to be in any way derivative; it is Knglish 
to the core. One would say that the attitude of this sturdy 
British artist makes him nearer to Ruisdael than to Hobbema. 
Like him, his very serious and elevated mind dwells upon the 
more significant and deeper aspects of nature. In the serenity 
and the ever young beauty of a summer’s day, those two vigor- 
_ ous old trees, bearing the marks of the struggles of years with 
the elements, have a rugged grandeur which imposes itself and 
give a lyric quality to the whole picture. 

Of the two ‘Turners in the collection, the small one be- 
longing to his early: period, a seascape with strong oppo- 
sition of sunlit and dark masses, shows the harbor of 
Dover in the middle distance. The larger one, “The 
Regatta Bearing to Windward,” is a representative and 
masterly example of the second and best period of the 
artist. It is one of the scenes of yacht racing in the 
Solent which he either painted at, or during his visit to, Kast 
Cowes Castle, the Isle of Wight seat of his friend, Mr. 
Nash (the great architect of the Quadrant, Regent Street, 
ete.), in the autumn of 1827. Together with a companion 
picture, “The Regatta with the Royal Yacht Squadron Parting 


from its Moorings,” which is now in the Sheepshanks Collection 
at the Victoria and Albert Museum (No. 210), it was painted 
for Mr. Nash and exhibited at the Royal Academy in 1828. 
That these yacht racing subjects fascinated him may be seen 
by the five examples, all of smaller size, which are in the ‘Turner 


Collection at the National Gallery (Nos. 1993, 1994, 1995, — a 


1997, 1998). : 

This picture, which with the Sheepshanks example is the 
best of the series, illustrates not a romantic but a real phase of 
the artist’s mind. Soberly conceived and soberly carried out, it 
nevertheless expresses the poetry as well as the bustling spirit — 
of the scene. The clear joyous sheen of sunlight on sea, boats 
and distance, the wonderful and exquisite atmospheric quality 
have never been surpassed by him and show him at his highest. 
No one but he could have painted such a sky, of such infinite 
depth, in so high a key, so suffused with tender light, and so 
alive and mouvementeé. 

There is animation everywhere and tumult on the sea. 
The fluidity and weight of the rough water, the force of the 
wind filling the sails, and the rush of the boats as they drive 
through the big waves, are marvelously expressed. In subjects 
of this kind, objective, pregnant with observation and vital 
sympathy, Turner cannot be surpassed. It is not the pictur- 
esqueness of the scene, but its life and truth—its dramatic 
quality—that appealed to him and appeals to us to-day. 

George Morland’s intimate pastoral note is an excellent 
example of the work of this honest and most sympathetic artist, 
in which pigs, a donkey, a dog and a countryman are used to 
express the poetical charm of an English rural scene bathed in 
soft summer sunshine. Painted in a minor key, it fitly repre- 
sents this modest man, who is a genuine artist and not merely 
popular and pretty. To appreciate Morland’s value as a 
painter we have only to compare him with the Victorians who 


v 


followed. We can enjoy his donkeys and his pigs as we enjoy 
~ those of Decamps, and he has a tenderness and a charm all his 
own. 
In its atmospheric quality Nasmyth’s “Edinburgh from 
Gogar” shows the influence of Claude and the classical tradi- 
tion is also felt in its artful and effective architectonic arrange- 
ment. From the foreground, all lines carry the eye towards 
the center of the picture, where, far away, looming up as the 
focus of the whole composition, the Castle dominates the city 
which is lying at its feet. Tree masses, very dark in the fore- 
ground, less dark in the middle distance, bring out and em- 
phasize the shimmering beauty of the distance, the glowing 
lightness of the sky and its reflection in the water. 

A life-size portrait of a child holding a parakeet on her 
hand, “The Pet Bird,” by Sir John Millais, is a rather late 
work, which for its subject is more interesting than usual. 
Opus CCX XXII of Sir Laurenz Alma-Tadema is a scene 
with two maidens seated in.the loggia of a Roman villa. Both 
are characteristic examples of the two most popular artists of 
the modern English School at the end of the nineteenth cen- 
tury. (Sir Laurenz, although a Hollander born and bred, 
belongs to the English School.) 


PAINTINGS 


OF THE MODERN 4 
FRENCH, DUTCH, GERMAN AND AMERICAN — 
MASTERS i 


By AUGUST F. JACCACI 


The large representation of French art in Mr. Borden’s 
collection begins with a picture of the eighteenth century and 
comes down to work of the end of the nineteenth. It includes | 
many examples of the so-called “Barbizon School.” , 

Greuze’s “Innocence” is a finished example of the senti- 
mental genre, the popularity of which with the French public 
of the second half of the eighteenth century was largely due to 
the encyclopédistes, the advanced thinkers whose ideas and — 
theories were preparing the Revolution. It was an art which 
reflected their humanitarian literature. Like Jean Jacques 


- Rousseau, Greuze aimed at the glorification of the poor, of the a 
peasants, by illustrating their humble joys and their sorrows. _ 


The life he depicted, however, was an imaginary one; his per- 
sonages were so sentimentally sweet, so candid, so good, their 
manners were so modish that they had no prototypes in reality. 
It is difficult for us to realize that these fairy tales had so great 
and so real a meaning for the thinkers of the time. And it is 
appalling to reflect that, in a way, they helped form [état 
d@esprit of the revolutionary doctrinaires, giving them their 
sentimentality for imaginary people and conditions, and leaving 
them with their pitiless cruelty for living humanity. Having 
had extraordinary success, it was the misfortune of Greuze to 
find himself out of touch with his public in the latter part of his 
long life, when the Revolution came, and with it the school of 
David based upon the art of Greece and Rome which was hailed 


as representative of the ideals and aspirations of Republican 
(and later of Imperial) France and became its official school. 
Greuze was ignored, his work fell into contempt and he ended 
his days in misery. The catholic and enlightened curiosity of 
following generations has rescued him from unmerited neglect, 
for he not only is historically an important figure marking a 
period of French thought and feeling, but he is an artist of no 
mean capacity. It is true that, often carried away by the 
philosophical and sentimental side of his subject, he forgot that 
his duty was to paint and not to preach, but Mr. Borden’s 
picture proves that he could be a real painter. Its drawing and 
modeling are excellent and the general color scheme is not with- 
out distinction. 

Of the early nineteenth century romantic school—which 
was a revolt against the pseudo-classical school of David and 
his followers—there is an excellent little canvas by Géricault, 
who, by his great personal influence more than because he really 
was the first in date, deserves the honor of being considered its 
founder. An early death cut short his career prematurely, 
before he had given his full measure, hence his limited produc- 
tion is all the more valued. But his great works, “The Raft of 
the Medusa” and his portraits of officers on horseback, need no 
apology—they remain glorious landmarks of protest, and of an: 
achievement which is pregnant with all the possibilities of the 
future. We can only realize what was then called the artist’s 
vehemence and audacity when we look at the cold, lifeless pic- 
tures of the academic school of the period. He was a man of 
the world, well born, who knew England and English art well, 
_and was a sportsman and a great rider. The little canvas of a 
white Arabian horse in a stable, which is one of several similar 
pictures testifying his love for and knowledge of the horse, 
shows in its powerful modeling that he had the temperament of 
a sculptor as well as of a painter. 


Of Géricault’s friend, Delacroix, who is in every way the 
great man and dominating personality of the school, there is a 
very fine picture, “A Combat in Algeria.” The choice of sub- 
ject is significant, and proclaims the independence from sterile 
conventions and the return for inspiration to nature and life. 
In the school a subject of this sort was considered impossible — 
and vulgar, for the simple reason that it was not “academic,” 
never having figured in the repertory of the Italian masters. 
We fully appreciate the beauty and personal qualities of its 
composition, and see that while Delacroix was disdainful of all 
formulas, he also worshiped at the shrine of these old masters 
whom he refused to insult by copying them. It is clearly their 
spirit that we feelin him. In his work, as in theirs, we see that, 
while impressed by reality, the artist has given free career to 
his imagination. And with Delacroix, as with them, it is an 
incomparably fertile and compelling imagination. ‘The fiery 
technique which was admired by the few and criticized as revolu- 
tionary by the many, remains original even for us to-day, 
precisely because it is his, because it is fashioned by him as the 
best means for the realization of his conceptions. “To assure 
ourselves that he was one of the great composers as well as one 
of the very few truly great colorists of the world we need not 
look at his large decorative work, as the example in this collec- 
tion shows. The scene is rendered with absolute directness and 
epic vigor; and the brilliant variety of its chromatic harmony 
is wonderful. ‘This splendid picture, one of the last painted by 
Delacroix, justifies the unanimous verdict of the critics when 
shown at the Pavillon de Flore exhibition in 1878, that it em- 
bodies all of his qualities and the fulness of his genius.” | 

In consequence of the example given by their leaders, 
Géricault and Delacroix, the artists of the romantic movement 
soon began to understand the importance of travel and to 
cultivate an interest in foreign lands. Descriptions of places, 


¢ 


b) 


“voyages pittoresques,” were the vogue in France, Germany, 
and in England, where the series illustrated by Turner are an 
example in point. The travels of Delacroix in Morocco and 
Algiers mark the beginning of the orientalism of the romantic 
school, a term which included Italy (the picturesque and not 
the “classical” Italy) as well as Constantinople, Asia Minor 
and Northern Africa. While he painted many other subjects, 
Decamps was recognized as one of the founders of orientalism 
and with Marilhat he became its most popular exponent. His 
small Italian genre picture, “The Little Sailors,’ has an accent 
of truth which at the time it was painted constituted a good part 
of its novelty and of its attraction. It shows his parti pris of 
light and shade, and, rather more soberly applied than is usual, _ 
the familiar and curiously complicated technique which was one 
of his chief preoccupations. ‘This picture reminds us also that 
the world was not only turning towards exotic subjects, but 
towards subjects from the life of the peasantry. There were 
hardly any others left to the painters, for the aristocracy, as 
having a life of its own distinct from that of the community, 

had practically ceased to exist, and the life of the bourgeoisie, 
which was becoming the dominant class, offered no field what- 
ever to the artist. Moreover, peasant life as a subject was in 
accord with the democratic aspirations of the world. 

This class of subjects brings us naturally to Daumier, 
whose whole interest was centered in the life of the people, 
more generally in the petits bourgeois, the workingmen, the 
proletariat. In the synthetic simplicity and extraordinary force- 
fulness of his drawing he reminds us of Michelangelo, who 
evidently influenced him, and makes us think of Millet, whom 
in turn he influenced. He was a great painter who had to make 
his living by hurriedly jotting down his comment on the life and 
manners of his time in innumerable lithographs, which prove 
him to be a keen satirist as well as a master draughtsman—a 


very different person from the mere caricaturist that he was 
considered to be by the successful painters and academicians 
whose opinions were law in the official world of his day. (And 
we know neither their works nor their names!) His important 
example in this collection is the earliest in date of two pictures, 
the second of which with varientes belonged to the collection of — 
Count Doria. This is one of the series of scenes in a Third- 
class Railway Carriage, and has the eloquence and power of 
characterization which we naturally expect and always get from 
Daumier. But it also shows what should be expected, and is 
not as yet, a beautiful sense of color. For, in a quiet and sub- 
dued way, most subtly, by the use of but few colors, the artist 
proves himself a rare tonalist and colorist. The world has come 
to acknowledge him a great painter, but during his life his pic- 
tures accumulated in his studio and could find no purchasers 
except a few artists—Daubigny, Corot, Rousseau—who hon- 
ored themselves in showing their appreciation of him. This 
rarely important example, of the best quality throughout, must 
be ranked as one of the artist’s finest achievements. 

The figure painters of the romantic school, among whom 
men like Decamps painted occasional landscapes, were working 
on the principle: “La nature c’est le prétexte, lart c est le but.” 
But the landscapists of the new movement made the study of 
nature their goal. It has been clearly demonstrated of late that 
throughout the eighteenth century there existed in France a 
national landscape tradition which was still alive when the 
romanticists began. The example of some brilliant men, little 
known, who had felt the influence of Rembrandt and Rubens, 
was also of importance to the new men; and so was the Italian 
tradition, misapplied it is true by the academic school, but which 
was finding a new and worthy expression in the works of artists 
who cannot be classed as fully belonging to the romantic move- 
ment; then the brilliancy and beauty of color of the work of 


Constable came as a sudden revelation of possibilities. It was 
under all these influences that the artists we know under the 
names of the “men of 1830” began their work, and followed 
their standard bearer Delacroix in the fight against the preju- 
dices and the privileges of the entrenched school. All they 
wanted was the right to their own expression, and it was that 
which was denied to them. It was the fine period of youth, of 
generous enthusiasms, of devotions to ideals, and the din and 
roar of battle as stimulating. But these landscapists were not 
theorists, they were rather religious fanatics who felt the call 
of le retour a la nature as their shibboleth and obeyed it. The 
very simple term of naturalists can be justly applied to them. 
The same spirit animated them, they all loved nature, but every 
one of them strove to develop a straightforward, personal and 
painter-like technique suitable to the expression of the par- 
ticular aspects of nature he loved best. Instead of following 
the deadening formulas, the affected conventions and subter- 
fuges which composed the practice of the academic school, they 
tried to render in terms of pure painting the depth and sincerity 
of their feeling for nature. And it is because they shared the 
same ideals and aims that their production, unlike that of the 
followers of the Academy, is in every respect, in choice of sub- 
ject and in treatment, so intensely personal. 

The Borden Collection is rich in examples of their work. 
In “The Approaching Storm,” painted some years after his 
voyage in Holland when Troyon’s robust talent was at its best, 
the artist shows himself a great landscapist as well as a great 
animal painter. The broadness, sanity and truth of his observa- 
tion are clearly revealed in this painting of a spacious, almost 
level, stretch of land, rising, like the floor of the ocean, to a 
horizon line which seems to mark the end of the earth, and 
infinitely beyond which is the glory of a resplendent sky. The 
general outlines of the rapidly approaching storm clouds and 


their clever repetition by the broken line formed by the slow- 
moving oxen which two peasants are trying to hurry, give the 
sense of movement and make the scene alive. The artist loved 
such contrast of sunlight and shadow as this picture shows, but 
he seldom achieved them so successfully and in so big a way. 
Troyon and Daubigny have been called the prose writers — 
of the romanticists. There is some truth in this attempted 
definition, but the whole and significant truth in regard to Corot 
is that he is the poet, yet he can hardly be called the romantic 
school’s poet. He was and is included among them largely 
because, even if he was not aware of it, his tendencies were those © 
of the romanticists, and he was against the fossilized spirit of 
official teaching and its deadening influence. The Academy did 
not suspect that it was he who was the sole follower of Claude 
Lorrain and of the French tradition which continued the Italian 
classical style. The quality of his genius was too personal, he 
was too simply the lover, the humble and enthusiastic lover, of 
nature, the unpretending and joyful painter man, and so they 


refused him admission to the Salon and persecuted him. Being — 


as they were, what could they understand of his researches for 
a subtle differentiation of light, of the envelope, of the relations — 
between the sky, the water, and all the features of a scene, the 
figure and the landscape? A candid, honest and isolated 
student, such as he, was too far removed from their sphere, and 
so, fortunately, he went on trusting in himself in spite of his 
modesty, feeling his own way and working constantly. He 
proceeded slowly, and it was only after twenty years of hard 
work that he finally abandoned all traditionalism, but the flavor 
of the classical style remained with him and we can detect it 
even in the most summary of his sketches from nature. 

This penchant for the classical is particularly felt in two of 
his four pictures in the Borden collection, the “Bateau au Clair 
de Lune” and the “Cueillette au Bord du Chemin.” Both are 


variations of favorite themes of the artist which first made their 
appearance in some of the pictures he painted in Italy, and to 
which he returned at different times throughout his long career. 
He employed these schemes of arrangement built on the same 
general lines, but contrived to make each a distinct achievement, 
an interpretation of the rural France he loved, and to which he 
thus added dignity of style to the beauty and Virgilian serenity 
which are the stamp of his genius. The “Pont de Mantes,” with 
its subtle and masterful rendering of tone values, shows him as 
the discoverer of the discreet and idyllic charm of the French 
country. And yet it is the faithful portrait of a site. He was 
the first of the modern painters (and remains incomparably the 
most accomplished) who lightened his palette, discarded the 
brown and reddish tones, and revealed the bewitching charm of 
gray harmonies. These pearly gray tones enabled him to 
render the luminous silvery atmospheric effects which we may 
perhaps consider his most precious contribution to art. No one 
had ever attempted before to paint the air and white light of 
_ early morning. 7 

The last picture of him is one of the figure pieces which 
have come to be so highly valued, and in which he studied the 
tonal relations between figure, landscape and sky. The back- 
ground is always in light gray modulations; in the figure, the 
costume of which denotes the romanticist mliew, are decided 
colors and a more solid and enameled execution which recalls 
Vermeer or Velasquez—and that idyllic personality of a pure- 
minded man with the heart of a child, whom age did not change. 
He remained to the end an idealist. Yet it would be a great 
mistake to dwell too exclusively upon his gentle poetic qualities, 
for under them is always the virile power which gives vitality 
to all great achievements and without which they are impossible. 

Of Rousseau, the great lyric and passionate painter, Mr. 
Borden possesses also four pictures which demonstrate the 


respectful attitude of his reflective mind before nature and the = 


patient firmness of purpose with which he worked. He sees 
everything, the infinitesimal and the big, the moss, the tiny 
blade of grass, and the oak; and he wants to include in a picture | 
each component thing with its character, color, and life, and 
without losing the harmony of the whole. What such a pro- 
gram means of undaunted pertinacity can be surmised. Because 
of it, his whole life was a constant attempt at full expression, a 
series of heart-breaking efforts, a struggle of Sysiphus. Hence 
the grave, religious, the almost tragic note of his work, and his 
wide range of subjects, of effects and of technique. No achieve- 
ment could satisfy him, he was ever after a more fitting realiza- 
tion of the ideal that possessed him. But in his search for the 
unattainable he produced masterpieces, and his whole work is 
an unrivaled revelation of power and of love and of under- 
standing of nature. 3 

It is difficult for us to fully comprehend of what enormous — 
importance to art have been the achievements of the landscap- 
ists of 1820, those of Rousseau in particular, unless we remem- 
ber that the teaching of the official school was confined to the 
study of the works of Italian masters and to their imitation, con- 
stituting the “heroic” style, which produced not landscapes but 
scenic arrangements filled with “noble” features, tombs, foun- - 
tains and monuments. ‘There also was an approved “rustic” 
style which copied the features of the old Dutch landscapists. 
The depicting of something actually seen, for example, a bit of 
French country under the noonday sun or at sunset, was a 
treasonable innovation, a revolutionary proceeding, the perpe- 
trators of which were ostracized. It took faith and determina- 
tion to live and work as these men did under persecution and 
with hardly any encouragement but from one another. The 
world is their debtor far beyond the value of their pictures. 


If we look with that in mind to the little canvases of 
Rousseau in Mr. Borden’s collection they acquire an added 
bigness, and we can penetrate their meaning and appreciate 
them all the better. No. 55 is a landscape entitled “Le Plateau 
de Bellecroix”’; the “Pool in the Forest”’ (with its superb design 
of tree tops against the sky) is a site in the forest of Fontaine- 
bleau; and “La Mare a Piat, Forét de Fontainebleau—Soleil 
Couchant” was probably painted near the home of the artist. 
They have a grave look, something of the same lofty seriousness 
of Ruisdael, and an intensity of expression which embraces 
detail and ensemble. ‘They depict nature as it is, but seen with 
devout concentration of thought through a noble temperament. 

Four examples show the different phases of Dupreé’s talent. 
If to them were added a sea picture the representation would be 
complete. Dupré was also a true artist, a student and lover of 
nature, with a sincere and powerful vision; and he was a scien- 
tific and magnificent technician, the best among the naturalists. 
Yet if we compare his work with that of his friend Rousseau, we 
see that technique, however impeccable it may be, is but one of 
the elements of art. Rousseau was not by any means a con- 
summate technician, for he was constantly trying some new 
method; but he was-the bigger nature, he had the greater range 
and depth of emotion, feeling and understanding. 'The two 
were life-long companions and their work had much in com- 
mon, for they shared the same ambitions and led the same life. 
It is the difference in their natures alone which made the differ- 
ence in their art. 

Two of the pictures express the peaceful charm of nature 
and two its more dramatic side. The artist’s plastic expression 
adapts itself to all phases; being rugged and powerful at times, 
smooth and flowing at others. , 

Daubigny’s personality is robust and simple; the honest 
directness of his work is convincing and its charm thoroughly 


satisfying. He writes prose in a limpid and manly style whose 
perfection seems a matter of course since the right word is so 
naturally always found in the right place. His manner is not 
searched for like that of the other men we have been consider- 
ing, but it admirably fits his subjects—banks of placid rivers 


where, set in the greenery, little villages lie peacefully in the = 


noon-day of summer under the guardianship of some tall pop- 
lars. Itis evident at a glance that he painted from nature. He 
was the first and only one of the men of 1830 to paint his pic- 
tures entirely from nature. While his friends left a large 
number of studies from nature, their pictures were at least 
finished and in general wholly painted in the studio. It was in © 
the open air, face to face with the scenes that captivated his 
fancy, that Daubigny achieved his cursive, competent and alto- 
gether splendid métier. The single-mindedness and energy of 
his effort is patent in the innumerable rapid studies that he 
accumulated: stenographic notes, “impressions,” which fore- 
cast later developments. Was he consciously following the 


-example of Constable in thus jotting down all that struck him? = : 


We know not, but of all the Frenchmen of his time he is the 
nearest to the English master; perhaps because he also is gifted — 
with the sense of fresh, vital color, and loves the rich, solid, — 
luscious green of summer vegetation. His is a sturdy and 
straightforward talent with no dark and dramatic tinge. His 
mood is pastoral, and the scenes he depicts are mostly from his 
beloved valley of the Oise, that of the Isére and of the Seine, 
their waters mirroring the fertile banks; and occasionally with 
a figure or two, or some birds, to give them a sense of pulsating 
life and emphasize their silence and restfulness. His three 
pictures in the collection represent him well. The Seine motive, 
a view of Mantes la Jolie, gives the stateliness and orderly 
beauty of a justly celebrated site of the park-like region of the 
Isle-de-France. It antedates by eleven years “The Willows,” 


a picture of robust serenity, of simplicity and intensity of 
vision, and of the virile technical assurance. The “Bords de 
lOise,” of a little later date, 1866, a variation on one of his 
favorite and more intimate themes, expresses in the most direct 
manner the winning, restful charm of one of the many quiet 
little villages strung along the course of his favorite river. 

By Diaz, the most successful man of the school, because 
more familiar, facile and brilliant, and therefore more easily 
understood, is an excellent landscape in which we find much to 
remind us of the men he most admired, Rousseau and Dupré, 
to whom he ever was the best and most helpful friend. 

A figure piece, “La Bonne Aventure,” a “romantic” genre 
scene with personages in a landscape setting, of a sentiment 
somewhat stereotyped, is a graceful presentation of a subject 
literature had made popular, in which no serious appeal is 
made either to our imagination or our feelings; but it is painted 
by a born painter—a man who was intensly and joyfully inter- 
ested in the thousand ways of handling the brush, in the alchemy 
of the palette, the qualities of paint, and who reveled in execu- 
tion, in contrasts of transparent washes and hard enameled 
impastos, of smooth and rugged surfaces. 

The fancifulness of the costumes is a pretext to bring 
about certain color relations, such contrasts as between the light 
blue dress and white mantilla of the fair lady, and the dark 
costume, the swarthy face, the dark toque and feathers of the 
cavalier standing behind her; between the dark gipsy and the 
light colors of the two little girls standing before her—in a 
mosaic-like ensemble where delicate pale salmon, pale yellows, 
grays and silvery whites, sing out as the petals of rare flowers. 
Everything in the picture is but the play of a happy and youth- 
ful nature. While there is no deep meaning but a simple desire 
to exercise facile and charming gifts, to be attractive and to 
please, while the appeal is to pure sensual enjoyment, the story 


is not a scenic figuration, a cold simulacre of life; it is inspired 
by the romance of life and told with zest. 

The technique of the landscape is altogether fasciiaeinel 
It is clear that such a subject would never have been chosen 
by the artist if Rousseau and Dupré had not lived. It is a 
stern subject, but it loses its sternness when painted by Diaz; 
the masses of cloud might have a tremendously dramatic look, 
they have not; cloudy sky and arid land merely serve this gifted 
artist to fashion something which is fascinating to look at. 

We have now come to the end of the so-called “Barbizon” 
school, which in reality is not so much of a school in itself as a 
development of the “Romantic” school. But we must remem- — 
ber that it is only historically a part of that movement of protest 
and emancipation, and that if we were to give to these lovers of 
nature a more true and explanatory title, we should call them 
naturalistes. 

Monticelli, who began a little later hen they did and when 
the right to be oneself had been vindicated, profited by their 


example, but grew and ever remained an individuality entirely _ ; 


apart. His great admiration was for the Venetians, but we 
find in his work other and stronger elements, the souvenir of — 
Watteau and his gallant scenes, the knowledge of the chiaros- 
curo of the Dutch, the decorative use of landscape and the free 
manner of the English school. Out of all this, Monticelli 
evolved a personal, complicated technique; the like of it had 
never been, and it is safe to say, never will be again, as it is a 
part of the man, invented for and suited to the extraordinary 
conceptions of his singularly fanciful and fertile imagination, 
and without which they could not be expressed. He is a 
romantic in the choice of subjects, vaguely medieval or what 
not, but always and really fantastic. Disporting themselves in 
mysterious glades and forests are women, in gowns of his own 
invention adapted from the fashions of the Second Empire, who 


have the elegant air and aristocratic manners of the fated and 
beautiful Empress Eugénie for whom he had conceived a pro- 
found passion: 


““PAUVRE VER DE TERRE, AMOUREUX D’UNE ETOILE!” 


They are scenes of a new Decameron, his own Decameron, 
—which never have a precise subject—where his choice crea- 
tures rest, move about, attitudinize—and one wishes for nothing 
beyond, for they are part of a most ravishing world of color. 
The pictures of this very great painter executed with the brush, 
the palette knife, the thumb, present warm and deep harmonies 
scintillating with exquisite bits of subtle, or tender or brilliant 
color, which gives them a resemblance to rare precious stones 
in which splashes, veins and points form strange and fascinat- 
ing combinations. Even when painting pure landscapes from 
nature in which he sought to depict what was before his eyes, 
we can see what an imaginative lyric poet he was, for these 
studies reflect and are dominated by his mood. His two can- 
vases in the collection represent him well; and they fortunately 
belong to the class of his blond schemes, and therefore retain the 
bloom of color which the brown pictures, grown dark, have par- 
tially lost. 

The “Shepherd and his Flock” has that austere almost 
religious look which defines Millet’s attitude before life and art. 
Its subject is of the simplest, a shepherd who leans against a rock 
in the foreground, looking at his flock in the vale beyond. He is 
standing in the shade, his watchful dog near him, while the sheep 
pressing together in the sunshine fill the narrow bottom of the 
little valley. Small in size, it is big in conception and sentiment, 
built upon Virgil and the Bible. The early work of the artist, 
the mythological subjects which he painted under the inspira- 
tion of Poussin and in which there is a flavor of the eighteenth 
century, was most important by way of education, so that 


when this grave and tender artist came to his real work he was 
singularly well equipped, as this little canvas proves. His true 
expression was the paraphrase of the commonplace and tragic 
details of every-day peasant life. His profound sympathy with 
the man whose life belongs to the soil as the trees and the rocks, 
was without sentimentality, and his manner with no tinge of 
cleverness; and he was no naturaliste, for he did not paint > 
his peasants from nature. The epic simplicity of his synthetic 
drawing is compelling, and it is through that Michelangelesque 
drawing that he has been able to endow his familiar subjects 
with such grandeur and to express such tender and elevated | 
thoughts about the peasant whom he saw with deep brotherly 
sympathy, one might say almost in an evangelistic spirit. 

Rosa Bonheur suffers now, and unjustly, from the great 
success she had during a large part of her long life, yet she 
belonged to the new movement. Following Troyon in the field 
in which he was the leader, she kept to his high standards of 
sincerity of observation and scrupulousness of rendering. Her 
group of Highland cattle in this collection (belonging to 1862, 
her best period) is a fine picture, whose honesty is evident, for 
not only are the animals thoroughly studied—they were of 
course her subject—but the setting is searched for with much 
conscience. She is no more truthful than Troyon in the choice 
and delineation of her landscape backgrounds, but she shows 
a greater range than he does; we find him often repeating him- 
self, she seldom if ever does—and we can see in this picture how 
full of local character the setting is in its rugged simplicity, the 
largeness and soberness of its lines, its sense of big wind-swept 
spaces and of the solitude of the heights. Her art is based upon 
close observation. 

Fromentin marks a special development of the French 
school, that of the Orientalist genre which, with the modern 
curiosity for and the facilities of travel in foreign lands, has 


been steadily growing. The Bellinis and Carpaccio have testi- 
fied to the importance of Islam in the Venetian world; under 
the gray skies of Holland Rembrandt had been haunted by 
visions of the Orient, and in the eighteenth century the inter- 
est fostered by the accounts of missionaries and travelers had 
resulted in the popularity of Turkish subjects and Chinoiseries 
(treated, it is true, in an operatic fashion)—but Orientalism 
really begins in the nineteenth century, and Delacroix, De- 
camps and Marilhat are its pioneers. ‘Their example was 
followed by a host of artists who accompanied the armies which 
were conquering Algeria and reported their feats of arms and, 
after the domination of France was firmly established, by other 
artists who went to make a close study of the country and the 
people. Among the later was Fromentin, a subtle analyst of 
highly cultured and philosophical mind, who has left us some 
books of the greatest distinction, two on Algeria, and that 
extraordinarily penetrating book of art criticism: “The Masters 
of Old,” perhaps the best work of the kind that was ever 
written. | , 

In Algeria he found new elements of inestimable value. 
The manner in which he used them makes his role in the devel- 
opment of Orientalism an extremely important one. He was 
the artistic discoverer of Algeria. He saw this unknown fairy- 
like world and the patriarchial and chivalric existence of its 
primitive and heroic humanity as no one had seen it, and he has 
made us feel its irresistible seduction. The picture “A la Fon- 
taine” gives us in an every-day scene the sense of dignity and 
the unconscious elegance of Arab life. Like his hunting sub- 
jects, his razzias, his scenes of tribal wars, this simple scene 
reveals the life of the Arab with the richness of its setting, the 
magic of its sky, the beauty of the race and the picturesqueness 
of the life. And, moreover, the picture makes us realize that, 
with a mind steeped in the knowledge of the old masters, Fro- 


mentin’s ideal was to adapt their teaching to the new problems | 
confronting him. | | 
A little picture shows the character of Meissonier’s later 
work. It represents a cavalier dressed in that Louis XIII 
costume which, with that of the period of Louis XV, he adopted 
almost exclusively in his genre subjects. His art clearly goes 
back to the Dutch masters, Terborch and Metsu, with this vital 
difference, that their models were of their time, while Meisso- 
nier’s personages of the past perforce lack the charm of sincer- 
ity and reality of people constantly and familiarly seen. In his 
early period he was inspired by the splendid technique of these 
incomparable little Masters, their strong light effects, their rich- 
ness, warmth and transparency, the suppleness and broadness 
of their touch, but he gradually became the slave of his qualities 
and much of his work, with a precise and microscopic rendering, 
lacks atmosphere and is quite cold in color. But as we may see 
in this Musketeer, his drawing has an elegance and distinction 
entirely racial, and a virility, a decision, a certainty which are 
admirable. It clothes his purely objective vision with the force 
of life and explains the decisive influence of the artist upon the 
whole modern school of French genre. One has only to think 
what it was before him to see how vital his example has been. 
He has given to it its solid qualities of observation and of com- 
position, and its respect for truth. : 
One of Henner’s heads examples his Correggio feeling for 
the glow of the flesh against a dark background which, serving 
as a repoussoir, brings out its exquisite flower-like quality. 
Entirely independent of the world around him, filled with the 
souvenirs of the great Italian classicists, he is partly an idealist 
and partly a realist, and in this he is typical of his native Alsace. 
He learned to paint at a robust and manly school, his early 
works having the startling accent and searching finish of the 
primitifs, hence the solid reality, the impeccable construction of 


all of his work. He pursued with rare single-mindedness his 
own ideal of beauty: beauty of type, beauty of color and effect, 
and beauty of technique. 

In looking at the Gérome “Bonaparte en Egypte” one 
recalls what he said of the exotic spectacles of the Orient which 
is doubly applicable to this picture because of the immense 
popular interest in Napoleon: “Ce sont des sujets qui portent; 
plus dun qu na pas eu de talent ailleurs, en a trowvé la.” 
The choice of this subject shows a knowledge of the world, of 
how to appeal to the public. But what concerns the world in the 
end is something else, and the definite rank of an artist depends 
solely upon his pictorial qualities. ‘There is in the personality 
of this Franc-Comtois painter something of the strong honesty 
which marks the work of his compatriot Courbet. He is an 
archeologist and an ethnographer, but whatever the subject, 
his work is done with a stern conscience, with picturesque in- 
geniousness, but with a need of precision and truth which is of 
the same sort as the documentary realism of Meissonier. He 
ended very late in life by modeling in the round, and his 
statuettes of Bellona and Tamerlane tend to show that he was 
perhaps more of a sculptor than a painter. At any rate, his 
_ drawing is of the quality to justify Ingres’ definition, la pro- 
bité de Vart, and to account for his great and excellent influ- 
ence as a teacher—it has a scrupulous quality which we see well 
exampled in Mr. Borden’s painting. Without lyric lift, we 
feel the extraordinary impression of the enormous bulk, with 
the eternally questioning look, of the ruined Sphinx, and real- 
ize all the facts of the desert landscape which he alone animates, 
the particular character of the atmosphere and of the light. It 
is for us to use these true statements, as any traveler uses the 
facts before him, as a basis for our musings on the frailty of 
human life. Géréme has given us the facts. 

An example of each of the two military painters, Alphonse 


de Neuville and Edouard Detaille, presents an episode of the 
Franco-Prussian War. After the disasters of 1870 the recent 
and vivid souvenir of the great struggle was the cause of a 


recrudescence of battle genre painting in which these two men — : 


are the prominent figures. For many years De Neuville with 
his élan, his passionate temperament, and Detaille in a quieter 
way, played upon the patriotic fiber of the French nation. 
They both are in the direct lineage of Meissonier and Gérome, 


and show the qualities of close observation and thorough grasp . 


of the elements of their subjects which distinguish the older 
men. Their works will remain as accurate historical documents, 


in the case of De Neuville animated with the reckless and a 
dramatic war spirit. The “Return of the Reconnoiterng — 


Party,” one of the humdrum incidents of campaigning, is full - 
of spirit and makes us feel that its few soldiers have been in a 
skirmish, that fighting is their daily portion and that the spirit 
of it possesses them. In contrast, the Detaille “Charge,” 
which depicts an actual conflict, has the veracity of photo- 


- graphic presentation—that is the way it must have happened, —__ 


and the way the scene and every one of the protagonists must 
have looked to a cool observer. 


Jules Breton’s “Fin de Récolte” gives a fair presentation 


of the point of view of this kindly and sentimental painter, who 
has also given expression to his ideals in a book of verse and‘in © 
a volume which is a manner of autobiography. It is important 
in considering his art to think of his teacher, Martin Drolling, a 
man of his native North, one of those genuine artists of the 
beginning of the nineteenth century, continuators of the 
Dutch masters and precursors of the most modern forms of 
art, whose works were in Thoré’s (Biirger’s) mind when he 
said: “Formerly our art was made for the Gods and Princes; 
perhaps the time has come to make art for man.” (How trite, 


for example, is that often painted subject, a Kitchen Interior, 7 | 


and yet how beautiful and original is the little masterpiece of 
Drolling in the Louvre in which the artist found again the 
sincere and concentrated sentiment of the light in an interior, 
and the simple and intimate poetry of the humble subject with 
its tranquil atmosphere and calm radiance.) What is best in 
Breton he acquired from his master. He was also influenced by 
Léopold Robert, whose vogue is so passé but who nevertheless 
felt the beauty, the simple nobility of peasant life, and was the 
first to try, unfortunately without adequate means of expres- 
sion, to render it. ‘These two men and the poetical turn of mind 
of Breton determine the choice and character of his work, his 
desire to extol the life of the workers in the fields and to give, 
with its unchangeable and primitif character, all its poetical 
beauty. 

A picture of Jehan Georges Vibert, who has been de- 
scribed as the vaudevillist of the brush, shows his talent at its 
best, and with it we bring to a close the French pictures in Mr. 
Borden’s collection. An evolution which was fostered by the 
Louis-Philippe bourgeoisie, which represented its taste and 
received its substantial reward, was the treatment in genre 
painting of comic or educational subjects whose story was told 
with point and wit. There followed scenes with ecclesiastics as 
actors, jolly monks, good curates sitting at table, glass in hand 
and in amiable company. No drawing-room was complete 
without such pictures to adorn its walls, and their popularity 
with the large and naive public was attested at exhibitions. 
Among the painters who cultivated this remunerative field a 
few were artists. Of these few, the best perhaps is Vibert. He 
is, as we can see in this “Dispute,” a first-rate story teller and 
also a real painter. The stern discipline of Meissonier is felt 
in his drawing, which is conscientious and serious; moreover, 
he has faced the difficult part of his problem, the accord between 
the figures and the setting, with happy and satisfactory results. 


It is also towards the middle of the nineteenth century 
that the art of Holland shook itself free from the academic 


influences which it had received from France and the school — 4 


of David, and returning to its national traditions, developed 
anew on the old lines of landscapes painted under the inspira- 
tion of nature, and genre scenes depicting in an intimate way 
the life of the people. In such a picture as that by Neuhuys we 
feel something of that great flame of tenderness and humanity 
which illuminates the work of Rembrandt, and which we see 
burning so brightly in that patriarch of the modern Dutch  _ 
school—Israéls. Perhaps in no other school of painting is the ‘ 
inherited tradition so apparent as in the modern Dutch—the 
quality is probably a racial one—and while the modern men | 
are modern in every sense of the word, their adherence to the — 
tradition of their forefathers in painting is quite remarkable; in 
their vision of the world, in their arrangement of the elements 
which make their pictures, they have that rare power, and it 
is a highly artistic one, of discerning in the banal—the common- 
place things of life—the profoundest beauty. Moreover this 
— revelation of beauty is made with a simplicity and unpreten- 
tiousness which awakens more than surprise and pleasure, and 
is no doubt a great factor in the success of the Dutch painters - 


among other nationalities. Their closeness to Nature, their — 


contentment with the things about them, the homeliness of 
their subjects, whether a kitchen interior with wonderfully 
painted copper utensils, or a shepherd driving home his flock, 
whether it be a mother spinning, her children playing about, or 
an old man playing with a child—these painters have a power — 
of investing their pictures with a poetry which is compelling, 
which appeals to the universal heart of mankind. 

Two typical examples of this school in Mr. Borden’s collec- 
tion are from the brushes of the brilliant painters Anton Mauve 
and Albert Neuhuys. The subjects are a mother and children 


in an interior, and a man driving a cart along a lonely road in 
the woods. In the latter Mauve is present with all his verve— 
his power, breadth and dexterity: a painter of the outdoors 
and gray skies of the big world, and of cattle and flocks of 
sheep. He is a happy compromise between the real and the 
abstract—surely his pictures have the tang of the soil and the 
reality of life—but withal there is a seriousness, an aloofness 
which lift his subjects out of reality into the world of poetry. 
In this picture how truly seen is the road, the gray trees against 
the gray sky, the distant hills; one is almost conscious of the 
creaking cart as it lurches along over the wintry road; there 
is a dip in the road and one feels that in a moment wagon and 
man will have disappeared. Not too much is said, but Mauve 
says Just what is needed and he says it perfectly. There is none 
of that undertone of sadness and no trace of the influence of 
Millet which mark some of his work. 

In the picture by Neuhuys the same sense of poetry is pres- 
ent, and the same sense of reality—both are characteristic of the 
Dutchmen. The canvas is unusually rich in color, and in this 
it is something of an exception, for the tendency of the modern 
Dutch school is towards gray, so that the large bulk of its work 
is almost monochromatic. This mother and her children is a 
handsome picture painted in an artistic, workmanlike spirit 
with assurance and robustness; the medium is rich, the sur- 
faces beautiful, and the distribution of the light most effective. 
Both pictures example that sterling love for, and mastery of, 
their métier which distinguish the old Dutch school above 
all others and which has always been recognized and valued 
by connoisseurs and painters. 


MODERN GERMAN MASTERS 


Mr. Borden’s German pictures are of the second half of the 
nineteenth century, and with one exception are examples of 


the Diisseldorf school. In a way of its own this school parallels 
the evolution which took place in the art of France. Directed 
for a time by Cornelius and afterwards by Schadow, a member 
of that coterie of artists who had worked with Overbeck in 
Rome, its teaching on pure classical lines began towards 1836 
to give way before the logical reaction towards realism; and its 
output changed from purely religious subjects, subjects of 
ancient history, or lofty academic conceptions, to popular 


episodes of national history, to genre and landscape reflecting _ 


the intimate observation of the world as it is. This was the 
point of departure of all modern German art. The German 
pictures in Mr. Borden’s collection are all of genre subjects — 
and by men who achieved fame in their day. The picture by 
Litschauer, an Austrian artist, who first studied at Vienna 
under Waldmiller and afterwards with Tidemand at Diissel- 
dorf where he settled, is one of a class of subjects he affected, 
one of which, “In the Laboratory,” is in the Wiesbaden Gallery. 
“The Counterfeiters” is a drama which is dominated by unseen 
protagonists. Only two figures show, an old man with gestures 
and an expression of surprise and fear, and his determined 
fellow-worker, a rough-looking, gigantic peasant, who stands 
ready to swing his hammer at the intruders; both are looking 
toward the closed door before which a fierce-looking hound, 
his hair bristling, stands ready to spring. One hears the knock 
and feels the door shaken; and the meaning of the scene is 
brought home by the paraphernalia of the counterfeiters which 
is seen all about—everything has been thought out, to the rag 
hanging at the door before the keyhole. ‘The Grandmother,” 
by August Siegert, the painter of historical subjects, whose 
best works are at Hamburg, is one of his few genre pictures. 
It represents a domestic scene of the sort to bring out a smile 
and wake up tender feelings in the beholder, carried out as a 
carefully thought out piece of stage arrangement, in a manner 


a little dry, but most precise. The Dieffenbach “Girl and 
Child,” an idyl full of German sentiment, is entirely represen- 
tative of this favorite painter. Lighted from the side and 
brought out in strong relief against the darkness of the stable, 
the girl and child make a gay group, the cooing of the baby 
answering the smile of the girl. It is a happy hour for every- 
one in this quiet little corner of a pastoral world, for the goat 
and the rabbits as well as for the two human beings. The 
picture by Ludwig Knaus, whose works are found in German 
museums and in private collections everywhere, is of larger 
size and more importance and belongs to the artist’s late period. 
It represents a scene before the terrace of a Bavarian inn where 
decorous bourgeois from the city, out for a Sunday excursion, 
are seated at tables sipping their beer and coffee. Some of 
them are watching a young girl who, having left one of the 
tables and come down the steps of the terrace with a basketful 
of dainties, is distributing them to a group of ragamuffins. 
The terrace is set among large trees and bushes; one of its 
ends, where children are playing, shows, and there is a glimpse 
of the little village and of the plain basking in the soft sun- 
shine beyond. It is a charming place where one would like 
to go of a Sunday, and a charming scene suffused with peaceful, 
gentle happiness. One realizes that what the artist has tried 
for, the seriousness of the city girl playing mother, and the 
individuality of each one of her ragged beneficiaries, has been 
successfully rendered. ‘The back of an older boy who stands 
aside in the foreground watching the proceedings is eloquent 
of his feelings. : 

These four men belong to the Dusseldorf school and their 
works are typical of that school (although something of the 
eight years Knaus studied in Paris and of the seven years 
Dieffenbach also spent there is felt in their work). They all 
express the point of view of their country and of their time. 


First of all, it is clear that they need to tell a story and to tell 
it with every possible detail in order to find favor with their 
public. It is also clear that the doing of this so engrosses them 
that they are satisfied with a technique which hardly ever takes 
into account such problems of quality of touch and surface, and 
of the search for atmosphere and envelope of the old Dutch and — 
Flemish painters as well as of the Frenchmen of 1830 and their 
followers. They are intent upon telling their story the best 
they can rather than upon the manner of telling it. ‘They 
accomplish what they set out to do, for the story is always 
obvious, and it is told in a manner which is equally expressive 
of German sentiment and German thoroughness. 

Mr. Borden has one more German picture, an example by 
a Munich artist whose pictures are also found in the Berlin, 
Munich, Dresden, Vienna and other German museums and in 
several private American collections. Franz Defregger, who 
was born in the Tyrol, studied in Munich under Anschiitz and 
Piloty, and for eighteen months in Paris. His subjects are of 
his native land and have been so popular that in recognition of 
- his success Defregger was ennobled in 1883. “The Hunter’s 
Tale,” which was painted in 1892, also tells its obvious story. 
It shows the artist’s attentive observation, his rare faculty of 
expressing the gestures, the attitudes, the countenances, and 
of grouping figures which gain an additional interest from the 
quaintness of the life depicted, the sympathetic healthiness of 
the types and their picturesque costumes and setting. | 


AMERICAN MASTERS 


In the history of painting in the United States of America 
the first appearance of a native school occurs soon after Durant 
and Cole, in the early fifties, and is known from the choice of 
its subjects as the Hudson River, and sometimes as the White 


Mountains School. The expression of character of this school 
was essentially American; they were inspired by a patriotic | 
loyalty and devotion to native scenery. One cannot but admire 
the sincerity of their aim and their enthusiastic devotion; but 
their lack of technical equipment, their adherence to fact to . 
the sacrifice of breadth, simplicity of vision, and unity of 
impression, compel one to count their contribution to art largely 
in the nature of a stepping-stone from which such men as Fuller 
and Martin, Inness and Wyant, reached greater things. 

Worthington Whittredge, during the early part of his long 
career (he died in 1910,) was classed with the Hudson River 
men, but his experience was undoubtedly larger and his scope 
wider. Born in 1820 in Ohio, he painted portraits before 
turning to landscape. In 1849 he went to Europe, where he 
remained ten years. It was at Diisseldorf under Achenbach 
that he acquired the thorough, accurate but rather dull, style 
_which he fortunately later grew out of; but the thoroughness 
he there learned always remained as a most valuable quality 
of his art. After spending several winters in Rome he re- 
turned to this country in 1866, when he made a trip to the Far 
West, and gradually began to grow out of his conventional 
style—his color became richer, his work, always animated by a 
wholesome love of nature and of solid construction throughout 
all complexity of detail, struck a deeper note than that of his 
contemporaries at this early period. The manner of his forest 
interiors, in which dense masses of trees and underbrush are 
expressed with fine sense of their weight and significance, of 
his rushing woodland streams with the depth of shadow and 
mystery of light on rocks and trees, place him in a different 
category from the work of the Hudson River School. 

In Mr. Borden’s collection is an interesting example of his, 
a scene in Central Park. It is a long, narrow composition rep- 
resenting a mall with parallel lines of tall trees in light and in 


shadow. The massing of the crowd, its sense of life and motion, 
the gem-like color, revealed by the sunlight, of its gaily dressed 
women, the breadth of the conception and the success of the 
achievement surely place Whittredge in a rank other than the 
one in which are to be found the hard, literal, piecemeal painters 
of the Hudson River School. There is a sense of atmosphere, 
a sensitiveness to color, especially an appreciation of greens 
and grays, which is seldom if ever found in its other men. 

The work of Jervis McEntee is much in the same feeling; 
however, he had not the thorough training of Whittredge and 
his lack is often apparent in his painting. Autumn and winter 
scenes were his best productions and have a very personal 
character. There is a strong local flavor in this “Autumn 
Landscape with Figures,” an essentially American scene which 
is expressive of sentiment for youth as well as for the country. 
It is a well-balanced composition, in the use of values finely 
modulated, and with a delicate color perception in the contrast 
of silver tones against brown; the trees are drawn with a true 
sense of their character and anatomy; the figures of boys and 
girls which, in groups and singly, animate the picture, are well 
distributed. These figures are treated incidentally and take 
their place in the landscape with a natural air which could only 
be the outcome of unusual artistic intelligence. There is also 
a robustness in the painting, done with full brush and loosely 
handled, which in that day and school was indeed a departure. 

While with few exceptions such as Whittredge and McEn- 
tee little inspiration and no mastery of noble tradition dis- 
tinguished the Hudson River painters, our debt to them is a 
great one, for they created an atmosphere in which the develop- 
ment of Martin, Inness and Wyant was possible. Those really 
great men who are the glory of our landscape art emerged from 
it, and their achievement may be looked upon as the culmination 
of the Hudson River School. 


In Mr. Borden’s collection Inness and Wyant are well 
represented. Both are poet painters, loving nature with tender 
reverence but each with a vision entirely personal. ‘They differ 
as the ruby differs from the amethyst. Inness, in his approach 
to nature, struck a note which might be likened to the quality 
of Beethoven in the art of music. His similarity to the master- 
musician is not only in the romantic aspect of his composition, 
not only in the full-toned chromatic beauties of his palette, but 
in that spirituality, that faith in the unseen, which ranks his 
works with that of the greatest. His own words eloquently 
express his belief. He said: “The paramount difficulty with 
the artist is to bring his intellect to submit to the fact that 
there is such a thing as the indefinable, that which hides itself 
that we may feel after it; God is always hidden, and beauty 
depends upon the unseen, the visible upon the invisible.” This 
is the keynote of the art of Inness, of his final elemental sim- 
plicity, of his breadth of vision and of his power of suggestion; 
these are the qualities which fire the imagination of the beholder 

who comprehends the significance and the beauty which dwell 
behind the presentment. The search for this quality is fully 
revealed in the two canvases by Inness in this collection. While 
belonging to different periods in the artist’s life, they both 
emphasize his spirituality and breadth. The interval between 
them is twenty years. In the earlier picture (1865) the same 
poet-nature is apparent as in the latter; and we can see that at 
the time he had already overcome the difficulty with the inde- 
finable, “that beauty which depends on the unseen; the visible 
on the invisible.” , 

The picture, exquisite in sentiment, filled with the mystery 
of the passing day, is perhaps more charged with incident than 
the later one. Superb in their character are the two elms 
occupying the center. The housetops nestling among trees, 
the evening light on the church steeple, the tranquil stream, the 


flock of sheep, all express an ineffable peace, the hush of bene- 
diction. Here is surely the poet painter. The technique is not 
quite so free as that of the canvas of 1885. Whether it is a more 
or less beautiful picture is a question. They are both master- 
pieces. In the latter picture, “Sunset at Montclair,” the means 
are very simple. Elemental in their apposition are the masses — 
of light and dark; and the psychological appeal is most sig- 
nificant—the human elements, youth, age, and labor, all are 
conveyed with the briefest suggestion within this glorification 
of a sunset sky and of the peacefulness of the earth. Such 
pictures are great expressions of a great nature. 

With Wyant the approach to nature was more reserved. 
Of a gentler temperament he is endowed with an imagination 
which, though not so rich and varied as that of Inness, is never- 
theless of a refinement and freshness, of a purity and sweetness, 
that appeal at once and directly to the heart. His gentleness 
and delicacy were by no means effeminate; his art was robust 
and virile, but nature made her strongest appeal to him in wood- — 
land interiors with, in the foregrounds, quiet pools reflecting — 
the heavens, in landscapes enveloped with cool silvery light 
where his rendering of tree forms evinces the depth of his devo- 
tion and regard for them. 

“The Approaching Storm” shows that he could appreciate 
and express the dramatic moods of nature, for it is a dramatic 
landscape. The sky is tempestuous, thick ominous clouds are 
gathered in the distance, lighter ones are scurrying across the 


upper sky, and reflecting these is the characteristic pool in the — 


foreground; trees at the left are swayed by the wind and below 
the murky horizon is a flash of sunlight. It is an impression in 
the finest sense—seemingly painted dw premier coup, sum- 
marily, and never again touched. The canvas is rich in color: 
the paint flows from the brush with the rapidity of thought, and 
vividly the image of the storm and sunlight reflected from the 
artist’s mind is fixed forever. This is in every way a spirited 
performance, worthy of the artist at his best. 


FIRST EVENING’S SALE 
THURSDAY, FEBRUARY 13, 1913 
IN THE GRAND BALLROOM OF 
THE PLAZA 
FirtH AVENUE, 58TH TO 59TH STREETS 


BEGINNING PROMPTLY AT 8.30 O’ CLOCK 


No. 1 | 


PATRICK NASMYTH 
EnecusH 1787—1831 


EDINBURGH FROM GOGAR 


"> RIOR, 


f VW. We. 
A. SUMMER landscape with a rare sense of space. In th¢/ eXx- 
treme distance and almost in the center of the picture, the high 
castle of Edinburgh looms as an apparition against a sky 
flooded with light, and at its feet lies the city, its jumble of 2 
buildings seen beyond groves of trees. All this lies beyond the 
middle distance. The lines of the composition lead up toward 
it, while darker and larger masses of trees standing to right 
and left on the banks of the Gogar, and their accompanying 
reflections in the water, emphasize the shimmering atmospheric 
beauty of this background. The presence of the Gogar is first 
revealed by a stone bridge to the right; the river appears near 
it in the center, and changing direction twice, swiftly flows , i 
toward the foreground to the left, expanding so as to fill the | 
whole width of the picture. 


Height, 115% inches; length, A 


- 


Signed at the lower left, Parrick Nasmytu, 1818. 


f Yb 7. Collection of F. Whitehead, Leamington, England. | | 


urchased of M. Knoedler & Co., New York. Apy/ac. 20007 
per’ , thr DS 1693 /9 


—< No. 2 do au 
¢ oe WILLEM VAN DE VELDE © a 
Durcx 1633—1707 | a 


CALM SEA 


Height, 141% mches; ee inches pec! a , 


A soat with large cream-colored sails lies in a bay extending — 
toward the left of the canvas. A smaller boat is anchored 
beside it. In the left foreground, on a dyke fortified with piles, — 
two men are seen. A boat with three fishermen at work in it 
lies nearby. A fourth man advances along the shore from the 
right, carrying a basket on his back. Just beyond, two men are 
bathing off a low sand-spit, where a sailboat has been beached. 
Several frigates are lying at anchor at the mouth of the bay. It 
is afternoon, with warm yellowish clouds in a blue sky. 


Signed on a piece of wood in the foreground, W. V. V., 1661. 


Hudson-Fulton Celebration Exhibition, New York, 1909, No. 184. 


te 


ape 8 Dwr a oJ frO 
JOHN CONSTABLE x ee , 
Eneuish 1776—1837 


THE SLUICE | 
H eight, 1134 inches; length, 1534 inches 


Near the center of the composition a torrent of water come 

foaming down an old sluice, and'rushes into a little canal to the 
right of and outside the picture. The sluice is constructed of 
brick walls, reinforced by rough-hewn timbers, and is spanned 
by a rustic bridge. The point of vision is from below, and seen 
in sharp perspective along the sky line are the head and back 
of a white horse, the heads of a man and woman, and a column 
of smoke at the left; in the center, a group of trees and some 
flowering shrubs; and at the right, a man holding a staff and 
leaning against the extended fence-rail of the bridge. Among 
wild flowers and grasses in the picturesque foreground are the 
beams which brace the side of the canal. It is a bright day of 
summer, with the sky filled with light clouds. 

rg Yoo. | ay a WU Ox INU 


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YVUON CAA O;,/ RF ; 


No. 4 


SIR LAURENZ ALMA-TADEMA, R.A. 
EnevisH 1836—1912 


‘ UNWELCOME CONFIDENCES 


(Panel) 
Height, 18 inches; width, 111 inches 


ttre Ges 


In the loggia of a Roman 
villa two young women 
facing the spectator are 
seated on the fleecy fur 
thrown over a marble 
bench; their feet are rest- 
ing upon a tiger skin ly- 
ing on the marble floor, 
and to their right a richly 
chased silver vase filled 
with lilacs stands on a 
large coffer covered with 
a tapestry. Behind them, 
partly framed with the 
beginning of an arch to 
the left, is the sunshiny 
background of sea and 
sky against which their 
faces stand out in strong 
relief, and before which a 
fruit tree in blossom and 
a marble group of two figures, set upon a large pedestal, 
break the line of the horizon. One of the young women con- 
fides to the other some secret, probably of the heart, which 
evidently falls on reluctant ears. The costumes, one of light 
grayish-blue, the other purplish, contrast and harmonize; the 
attitudes are graceful and expressive. The picture is full of 
light and the spirit of youth. 


Signed at bottom toward the right, L. ALMA-TADEMA, OP. CCCXxxII. 


442.4 Purchased from M. Knoedler & Co., New York, 1895. €.S%% 


No. 5 


9) DAVID TENIERS THE YOUNGER | F 
© Durcn 1610—1690 ~ * ; 


i 


WOMAN SMOKING IN AN INN 


Height, 14%4 inches; Male revg 


To THE left sits a woman in a gray-blue petticoat, white skirt, 
and pink and white waist, lighting a pipe. A peasant nearby 
puts his arm around her neck and offers her a glass of wine. He 
wears a brown coat and reddish-brown bonnet. At the right 
of the group, on a table made from a barrel, rests an earthen 
jug, a pot and a napkin. A little dog lies quietly in the left 
foreground. At the back there is an open door, and a chimney- 
piece with a fire, near which two men are standing and convers- — 
ing, while a third warms his feet. In the right foreground are 
sundry utensils. From the plain dark background the figure of 
the woman stands out clearly. 


Signed in the left corner, D. TEnters. 


Collection London, 1818. oe 

Collection of John Webb, London, 1821. a ay | i 

Smith's Catalogue Raisonné, London, 1831. No. 877. bt @& P DIST 

Collection of Claude Tolozan, Paris, 1801, : 7 
Pukur Cree 189 /. 


on 1894 NM 4S. 


ae Se 
) J» 4 


aa 


No. 6 
IZACK VAN OSTADE 


° Dutcu 1621—1649 er 
: we Uv 

PEASANTS BEFORE AN INN > 7 
(Panel) 3 


Height, 15% inches; length, 22 inches 


Two PEASANT houses are shown on the left side of ¢/road which _ 
leads to a village with a church in the right distan The first 
house has an arbor near which some peasants are drinking and 
smoking. In the foreground to the right of it is a table, ,on 
which leans a peasant holding up a glass of beer to a woman 
who is seen from the back. <A child stands nearby. ‘The 
woman has a brown costume and white head-dress. A little 
to the rear stands a group of two men in conversation, and a 
woman and a child at their side. Before the second house is 
a white horse, feeding; a man and a little girl with a pail are 
nearby, and another man is leaning out over the half-door of 
the house. In the left foreground is an overturned basket, and 
trees rise high behind the houses. | 


Signed on the stone on which the woman sits. 


Collection of J. de Kommer, Amsterdam, 1767. No. 71. : 

C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most 
eminent Dutch painters of the Seventeenth Century. London, 1909. q 
No. 242. ‘- 

Purchased from M. Knoedler & Co., New York. 189 17 73 In 


he Lidelinere Cy qu F 6000 - 


({ ss 


: 
Res 


ie 


No. 7 | 

JOSEPH MALLORD WILLIAM eS 
TURNER, R.A.  ‘ 

Eneusu 1775—1851 Wak fi) a 


THE CLIFFS AT DOVER 


Height, 17 inches; Big! Q4 n. Ose 


UnpbEr a dramatic sky, where big sunlit clouds, contrasting 
with a very dark cloud to the left, allow only a glimpse of the 
blue to show at the zenith, a rough sea full of motion is seen in 
alternate patches of sunlight and shadow. In the background, 
lying between its high chalky headlands, is the harbor and 
town of Dover. ‘Tossed on the waves in the foreground, a boat 
~ is being rowed towards a sailboat that is heading landward, and 
on which a couple of sailors are watching the small boat's 
approach. | 


Signed on the stern of the rowboat, J. M. W. Toke. \ 


Ge ee 
ae 


: 


vy 


No. 8 a as 
PHILIP WOUWERMAN | 
Dutcu 1619—1668 


THE SUTLER’S BOOTH 
Height, 19% inches; length, 2 inches 


In front of a sutler’s booth with a flag and a garland on the ~ 
left are some horsemen and two ladies. On the extreme left 
stands a man in profile facing to the right. Next to him, and — 
farther back, are a lady on horseback and a mounted trumpeter. © 
Next is a gray horse, without a rider, facing right. Then come 
a lady, seen in the back view, and an officer who caresses her 
with one hand and rests the other on the saddle of his horse, 
whose head is turned away. In the right middle distance is a 


group of soldiers with an ensign among them, and beyond, on — 


a broad plain, is a camp. ‘Three dogs play in the front fore- 


- ground. 


Signed with the monogram at the lower left. 


Smith's Catalogue Raisonné, London, 1829. No. 178. 

Engraved in Jean Moyreau: “CEwores de Ph. Wouwermans gravées 

3 apres ses meilleurs tableaux,” Paris, 1737-62 (new edition, Paris, 
1843), No. 77, as “Les Quartiers des Vivandiers.”’ 

Collection Le Brun, Paris, 1754. 

Collection Montribloud, Paris, 1784. 

Collection Claude Tolozan, Paris, 1801. 

Collection Lapeyriére, Paris, 1817. 

Collection London, 1835. 

Collection Adrian Hope, London, 1894.-# 7// 7 £kOS. Sed 

C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most — 
eminent Dutch painters of the Seventeenth Century. London, 1909. 
No. 866 and Supplement No. 64. 


oe = a 
: hy ovale 
S2Selu cae, Cat R49 NF 2a 9 


Nea sch 


Smith’ s Catalogue Raisonné, Supplement, London, 1842. No. 22. 


No. 9 

: a 

GERARD TERBORCH > es a 

Dutcu Between 1613 anv 1617—1681 | = a 

LADY POURING WINE a 
| (Panel) : eee 2 <5 . 
Height, 18 inches; width, 1014 inches. , 5 g “a 

. y/o 


A group of three half-length figures in an old Dutgh home. — 
On the left a smiling young woman in a red jacket and a gray — 
skirt pours wine from a pewter flagon for a man sitting near 
her at the right. He looks toward her with evident and long-— 
ing admiration, and the pleased and hospitable old mother, 
standing behind her daughter, offers him a plate of food. He 
wears a dark suit and a large black hat. 


Collection Mr. Van Loon, Amsterdam, 1842. 
Hudson-Fulton Celebration Exhibition, New York, 1909. 


ferws /& 9 NW 131— fr Oran n% — 


+ : 
{ 7 ( «\ ae we 


ee 


Prof essor Hoffman. 


| Signed on the right: Arrat. Svar 47, Ano 1637. At the top of the 


No. 10 


FRANS HALS 
Dutcu 1584—1666 


THE REVEREND CASPAR SIBELIUS 
(Panel) di D 3 
Height, 1014 inches; width, 8°4 inches 
A HALF-LENGTH portrait, showing the clergyman turne 7 
slightly toward the right but facing front, addressing his con 
gregation. The left hand is raised in eloquent gesture, and 
he holds a small prayer-book in the right. He is dressed in — 
black with a white outstanding ruff and a black skull-cap. 
Sibelius was born in Elberfeld in 1590, and preached first ine = 
London, then in Zurich, and finally in Deventer, where he died- _ 
in 1658. From what is written on the back of the painting it 
would seem that Sibelius presented this portrait: to a certain: 


canvas, in the center, is the scription, Natus 1590, S. M. 


Funcruvs 40. 


Print by J. Suyderhoef; (1) folio, inscribed “163 aet. 48”; (2) small 
quarto inscribed “1642 aet. Pe an impression of which is recline 
to this picture. : 

Exhibited at the Palais du Cobpe Législatif, Paris, 1874. 

Collection of Hendtick Gijselaar-Assendelft, Amsterdam, 1891. 

iE. W. Moes: Iconographia Batavia, No. 7176, 1 and 2. 

E. W. Moes: Frans Hals, Bruzelles, 1909. No. 74. 

Hofstedt de Groot: Catalogue Raisonné of the work of the most emi- 
nent Dutch painters of the Seventeenth Century, 1909. No. 226. 

Hudson-Fulton Celebration Exhibition, New York, 1909. : 


a ee St Ss eR nc = 


No. 11 


ADRIAEN VAN OSTADE 
Dutcu 1610—1685 


BACKGAMMON PLAYERS AT AN INN 


Height, 14 inches; width, Pike wpe” 


IN the center of a homely room two men are af at a ta ble 
playing backgammon. The man on the left, dressed in yellow- — 
brown, is drinking; the man on the right, in a gray costume, 
arranges his pieces. In front of him, to the right again, a 
peasant in a dark blue jacket and dark red bonnet is seated in 
a little armchair with his back to the spectator. The hostess, in © 
a dark blue dress and red waist, stands back of and at the right 
of him, and offers him a glass. Back of the table are other 
peasants. On the left a little dog lies on the floor, and at the 

right a door leads to the cellar. | | 


Signed above the dog, A. Vv. Ovthne 


_Mentioned by J. B. Descamps: “La vie des peintres hamondie allemands 
et hollandais.”’ Paris, 1753-64. 

Collection of Anthony Sydervelt, Amsterdam, 1766. 

Collection of Gerard Braamcamp, Amsterdam, 1771. Too f#? ‘ 

Collection of P. Calkoen, Amsterdam, 1781. 

Collection of M. Calonne, Paris, 1788. 2020 spre : 

Collection of M. Calonne, Paris, 1795. #£ Ns - 

Smith’s Catalogue Raisonné, London, 1829. Nos. 81 and 48. 

Mentioned by Ch. Blanc: “Le trésor de la curiosité,” Paris, 1857-58, 
I, 169. | 

Exhibited at the Royal Academy, London, 1892. No. 97. 

Exhibited at the Guildhall, London, 1894. No. 66. | 

C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most 
eminent Dutch painters of the Seventeenth Century. London, 1909. 
Nos. 828 and 821G. | | 

Collection of E. H. Lawrence, London. YA 


Purchased from M. Knoedler & Co., New York. V7 If Seelauy tixxx q 


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No. 12 
JAN WYNANTS 
Durcn (About) 1615—1680 


HILLY LANDSCAPE WITH GROVE 


Height, 1934 inches; length, tai ae 


Ay roAD leads from the foreground around a hill to a grove. At 
the left, at the side of the road, a traveler in a pink coat and 
yellow trousers talks to a woman who is seated on the ground, 
and a dog ambles along near them. Another road leads down 


the hill, through a gate in a rough fence which surrounds the 7 


hill, and joins the first road in the foreground near a little pool. 


_A woman with a bundle on her head, accompanied by a dog, — q 


descends the hill. In the right foreground are seen two gnarled 
trees and some shrubbery. Behind these are wooded hills and — 


a cornfield. Around the cornfield is a road along which a horse- ss 


man and a peasant are advancing. In the blue sky are rising 
dark gray clouds with yellow borders. 
The figures are by the hand of Adriaen Van de Velde. 


Signed in the left foreground, J. Wynants, An. 1663. 


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Mise ee No. 18 
HN ae GEORGE MORLAND 


EncusH 1763—1804 


RUSTIC SCENE 


Height; 19 inches Ff 25, aes 7 
OccuryIne the center of the asaya = 


is lying down with her two young ones against a heap of manure 
and straw. ‘Toward the left a pig is searching for food. Be- 
hind the heap a youthful farm laborer, his hands crossed and 
resting on the handle of his shovel, faces forward and smiles at 


a white dog, which, perched on the top of the pile, looks at him a 


in an expectant attitude. At his left a donkey, seen in profile, 


stands quietly; at his right is a low thatched-roof stable, with <8 3 


its door open, and behind him are bushes. At the extreme right 


a bit of the country is seen. A soft sky of summer is filled with — . a 


great gray clouds. 


Signed at bottom toward the left, G. Mortanp, 1792. 


Has been engraved in mezzotint. 


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JACOB VAN RUISDAEL “a ’ 


| Durcu 1628 (29)—1682 
A WATERFALL 


bridge in the middle distance, flows from the right and breaks 


down between rocks in the foreground. A high bank, on the — 
left, is thickly covered with oak trees, some of which have | 


autumn leaves. On the bridge which connects with the lower 
bank at the right are two men in conversation, and a third man 


is walking toward the left, accompanied by a dog. Behind the , 


bridge a single oak tree stands against the sky, with reflections 
of light on its branches, and farther back is a gray-blue hill. 
Another single but thinner tree grows at the right of the 


bridge. ‘The blue sky is almost covered by dark gray clouds 448 


with pink borders. 


Signed in the right foreground, JvRuispart (JvR combined). 


Ut AL 


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Height, 261 mches; width, 21 inches ‘ Bhai: fi5 a 


A BROAD stream, which comes out underneath a little wooden - 


| No. 15 
] : : 
vf FRANCESCO GUARDI 


WY | Irauian 1712—1793 


WHE GRAND CANAL NEAR THE PIAZZA OF 
SAN MARCO, VENICE 


(Panel) 


Height, 10 inches; cp 14 inches cf Py es 
A. view from Santa Maria della Mees the left are seen < 
the Libreria and the column of San Marco, and beyond a part 
of the Doge’s palace is visible. The canal, with some simple 
houses, behind which are towers and domes, extends to the right. _ 
A large galleon is shown in the center of the water, and a — 
smaller one at the right; another lies near the land to the left. 
Numerous gondolas, with simple or with richly decorated — 
baldachinos, appear in the foreground, and in them are seated 
people in light red and blue costumes. White ripples brighten 
the blue water, and reflections from the buildings are seen on 
the water and the boats. The sky is a pace) blue, above a "8 
light pink horizon. ; 3 


Purchased from M. Knoedler & Co., New York. wr las Des | | 
Ch- $e Bh men en n 5/94 F406 
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No. 16 
9 
FRANCESCO GUARDI 
Irauian 1712—1793 2 a 
9 WHE PIAZZA OF SAN MARCO, VENICE — 


Height, 91% inches; a 1414, inches. ced ae 4 

View on the Piazza from the side of the Church of San Maree a 

In the left foreground is the lower part of the tower of San ~  . 

Marco and a part of the Loggetta. The galleries extend on __ 

right and left of the picture, and across the background, the left 

side being in shadow. In the foreground are two bronze flag- 
holders. Ladies and gentlemen, seen mostly in back view, in 

pink, yellow and white costumes, are saluting as they walk y 

about the Piazza. The gentlemen wear long mantles, perukes, 

and three-cornered hats; the ladies wear dresses with long 


trains. The light blue sky shows lighter yellow rays to the 
left, where the sun has disappeared. | 


Purchased from M. Knoedler & Co., New York. Jv | q & aos , @ 


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No. 17 


PHILIP WOUWERMAN 
Dutcu 1619—1668 
LABREUVOIR 


(Panel)  @ 
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Height, 134% inches; KD, ae 


A. BROAD river crosses the picture diagonally, and horses are 
being ridden in and out of the water. At the left a large stone 
bridge with two arches leads to a town in the distance. Near it 
is aman whipping a horse to make it enter the stream, and next 
him are a man and a boy on a white horse which is just leaving 
the water. At their right another rider lets his horse stand and 
drink, and nearby are bathers and men undressing. Farther in~ 
the river are two plunging horses, near a boat. On both banks 
are washerwomen. ‘To the left, through the front arch of the 
bridge, is seen a harvest wagon, which is being loaded. 


Signed with the full monogram at the lower left. 


Etched by Champollion. 

Smith’s Catalogue Raisonné, Supplement, London, 1842. No. 170. 

Mentioned by G. F. Waagen, “Treasures of Art in Great Britain,” Lon- 

don, 1854, Vol. II, page 291. 

Collection of the Earl of Ashburnham, 1842. 

Collection of the Earl of Ashburnham, London, 1850. 

Exhibited British Institute, London, 1853. 

Collection of the Earl of Ashburnham, London, 1860. 

Collection of Miss Bredel, London, 1875. 

Collection of Francois Niewwenhuys, Paris, 1881. No. 24. 

Collection of M. de Saint Albin, Paris. 

Collection of Comte Arthur de Vogiié, Paris. 

C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most 
eminent Dutch painters of the Seventeenth Century. London, 1909. 
No. 112. 8 

Purchased from M. Knoedler & Co., New York. WTI 2/90 LX 


Ch. Lede henee, er V eae Jor Fijoo 


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No. 18 : é 


GEORGE ROMNEY 
EnewisH 1734—1802 


(Third Example) 


LADY HAMILTON AS MADONNA Hive. Ayuuur ya S204 
Height, 17% inches; width, 15_inthes | ; 


THis is a small, life-size portrait, showing little more than the 
head. The body is turned away from the spectator, and the 
face, full three-quarters to the right and with the eyes looking 
upward, is framed in a soft and transparent drapery which 
covers the head and shoulders. 


pat (") 


7 Tene slightly toward the left is a young gyrl, who ou 


No. 19 ~ " 4 1 = 
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JEAN BAPTISTE GREUZE 


Frencuw 1725—1805 
INNOCENCE 


Height, 2114 Cee tf : 


in her arms a lamb which she holds on a pedestal inscribed “ 

Pamitié.” She is seen almost at half-length; her raised face i 
framed in loose ringlets of light hair, and she looks frankly and 
fearlessly at the spectator. ‘The light dress she wears leaves 
the arms and neck bare, and a purplish drapery covering her 
right arm and passing over her back is caught over her left arm. 
The background shows a solitary tree against a low-toned sky. 


Tohu ht. Ant hon Sahil ce 7s MA Rreref, - ia 
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SIR THOMAS LAWRENCE, P.R.A. 
EneuisH 1769—1830 


MISS KENT | Loan Aly bo | 


Height, 2072 inches; wolff, Q41/, inches 


pA AL LZ OES AVL 


a 4 


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- Lire-sizE bust portrait of a young lady, seen aroale to the 
left, against a dark background. Her dark hair with golden- 
brown lights brings out the brilliant color—the “milk and. 
roses” —of her face. She wears a white dress with a large V- 
shape opening at the neck. A golden-yellow drapery is thrown 
over her right shoulder and arm, while the right hand rests on 
a light red drapery covering the back of a chair. 


Collection jee Samuels, London, 1894. 
From the American Art Association Sale, New York, 1895. Catalogue 
No. 179.- PSxxxu ¢ | 


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| THOMAS GAINSBOROUGH, R.A. 4 
\ Encusn 1727—1788 


PORTRAIT OF CAROLINE ANNE HORDE — 
Height, 28% inches; length, 34 inches Pee 4 ' 


AN oval, life-size bust portrait of a young lady turned three- 
quarters to the left and looking at the spectator. Her eyes 
are blue, her light hair, curled and powdered, is encircled with 
a blue silk ribbon, and at her neck is a string of amber beads. 
She wears a close-fitting blue silk dress, with a fichu of trans- 
parent lawn over the neck and shoulders, and a scarf of light 
silk material at the waist. A dainty white underbodice shows 
a little at the neck, and again between the breast and the waist, 
the blue outer bodice being cut sharply away below the breast 
\ } in an inverted V shape (A), edged with white silk ribbon, the 
| blue garment vanishing at the waist within the scarf or sash of 
light silk. Painted against a brown background. 


Formerly at Cote House, Lambourne, Berks, England. 
Mentioned in Armstrong’s “Gainsborough,” page 197. , 4 
TQo [Bahibition of Old Masters, M. Knoedler & Co., New York, 1912. hae per: A 


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No. 22. 


SIR JOSHUA REYNOLDS, P. R.A. 
EncusH 1723—1792 7 . 


MISS MORRIS (Afterwards Mrs. Lockwood) 
(Painted in 1758) 


H Brae 25 inches; length, 0 inches 
Oh ee endo 


Lire-si1ZE full bust portrait of a young lady it the spec- 
tator. Her expression is simple and girlish. Her eyes are 
dark blue, and her dark brown hair, plainly combed back, is 
ornamented by an aigrette of red velvet, adorned with a string 
of small pearls. She is dressed in a gray silk robe with a low, 
round opening at the neck having a broad band of embroidery 
edged with lace. In the center of this band is an ornamental 
clasp, over which passes a rope of large beads, coming from 
under an outer garment—a cloak of light blue silk, richly 
embroidered, and lined with ermine. The light falls from the 
left and the background is a sky treated conventionally. — : 


Graves & Cronin’s “Reynolds,” Vol. IT, page 670. 

Collection of Colonel Morris, London.. 

Collection of Lord Hastings, England. 

C. R. Leslie's “Life and Times of Sir Joshua ea \ Voree Hees 
156. 

Str Walter Armstrong’s “Sir Joshua Reynolds” Guieiaeen 

Exhibition of Old Masters, M. Knoedler & Co., New York, 1912. . hea pg} 


Ch. Sem be eye cA]qay Fr0000 7178S) 
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No. 23 


Dutcu 1620—1691 
THE MUSSEL EATER 
(Panel) 


Height, 2014 inches; length, ‘ 
fe , tA 


On the right of the canvas a blacksm{th wearing 9 golden- 
brown jacket is seated in his smithy, beside a cask, eating 
mussels; a small boy, and a girl who wears a red bodice anda 
white apron, are watching him. Farther to the right two richly = 
dressed men are looking in through a window. The smith’s — 
assistant stands in the left background, in the shadow, hold- 
ing a hammer in his hand. A small dog lies in front of the 
cask. On the left are a cock and two hens. Re : 

This picture is a replica, though in lesser dimensions, of the 
painting in the Boyman’s Museum in Rotterdam. 


Signed on the end of the tool bow at the lower left, A. C. — 
(Casitd Lah /bbo-7o 5) 4 
Smith’s Catalogue Raisonné, London, 1829. No. 178. 2 3 
Collection of A. Febvre, Paris, 1882. = Hf Ja f2SO 4 7 ~q 
Collection of Baron de Beurnonville, Paris, 1883. IS eS L003 
Collection of F. Zschille, Cologne, 1889. Way 2] * fhe 2IGo ~ — 
Collection of Van Loon, Amsterdam. 
Collection of Baron v. d. Heydt, Berlin. 
C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most 
eminent Dutch painters of the Seventeenth Century. London, 1909. 
No. 3667 DO ban 
Hudson-Fulton Celebration Exhibition, New York, 1909. No. 14. 


Ootheetiin., Chom ‘aacae siscr fis \ 

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No. 24. 7 
MEINDERT HOBBEMA De Bee 


DutcH 1638 — 1709 Ws 


CASTLE KOSTV ERLOREN 

(Panel) 

Height, 223/, inches; ee ues ee 

In the center of the composition a square ‘ones Yrarbae 
with four step-gables, rises amid crumbling walls from the 
castle moat. Four men are working on the walls. Near the 
drawbridge are two large trees in autumn foliage, and beneath 
them a man in a red coat is walking with a boy along a road. 
Beyond the trees are seen a cottage and a gate, and behind the 
castle, on the opposite side of the moat, are some woods. White 
clouds mount high in the sky. ; 


Signed in the lower right-hand corner, M. Hoppema. 


Smith's Catalogue Raisonné, London, 1835. No. 116. 

Etched by C. T. Deblois, an-impression of which is attached to the back — 
of the panel. 

Collection of Frederick Perkins, London, 1835. 

Hudson-Fulton Celebration Exhibition, New York, 1909. No. 47. 


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ae Nis No. 25 


PIETER DE HOOCH 
Dutrcu 1632—1681 


(Painted about 1665-70) 


Height, 26 inches; net eae Cr 


ON a terrace leading at the rear into a park and sheltered by a 
curtain looped against a pillar, a young lady is seated, singing; 


she wears a white silk dress and marks time with her right” 


hand. A cavalier seated at the opposite side of the table ac- 


companies her on a lute of early form. A young lady, dressed - 


in blue, stands resting her hand on the table, which is covered 
with a variegated Asia Minor rug; and another young lady, 
dressed in red, carrying a small lute of later date in her right 
hand, advances through a door on the right. Beyond the park 
a building resembling the Amsterdam ‘Town Hall is esc 


against the early evening sky. 


Signed on the lower right hand with the monogram P. H. 


“ Collection of Mr. Niewwenhuys (Brussels), London, 1838. 


Smith’s Catalogue Raisonné, Supplement, London, 1842. No. 13. 

Collection of Count R. de Cornelissen, Brussels, 1857. 

Collection of Mr. Gilkinet, Paris, 1863. 

Collection of Vicomte de Buissert, Brussels, 1891. 

Collection of Baron Konigswarter, Vienna. 

C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most 
eminent Dutch painters of the Seventeenth Century. London, 2009: 
No. 136. 

Hudson-Fulton Celebration Exhibition, New York, 1909. No. 517. . 


en CoN 19 — (814 


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No. 26 gah oes oe ee 
JACOB VAN RUISDAEL 
Dutcu 1628(29)—1682 


THE CASCADE N | 
Height, 281 inches tee Gis wie. dn 4A | 


A LITTLE lake extends from the left of the canvas toward the 
right, where it forms a cascade which is spanned by a wooden 
bridge. A man wearing a red jacket, carrying a sack on his 
back and followed by a dog, is walking over the bridge. Three 


‘men are fishing from the left shore of the lake, and on its 


farther shore three houses stand on hilly ground. To the right 
is an oak wood, and beyond it rises a chain of distant hills. 
Dark gray clouds float in a pale blue sky. 


Signed on the lower left, JvRutspari (JvR combined). 


Collection of the Duke of Mecklenburg, 1854. —# /7 
Sale Péreire, Paris, 1872. -#/50 — Fhitn NX. XKX — = A | 
Sale Prince Paul Demidoff, San Donato, 1880. A 2s y b trex , BY XH 


Hudson-Fulton Celebration Exhibition, New York, 1909. No. 116 


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SIR ANTHONY VAN DYCK 7 ‘ 
Dutcu 1599—1641 7 , WN ¢ 


PORTRAIT OF A GENTLEMAN wy 
(Said to be the famous engraver Scheltius a Bolswert) a — 


Height, 44 inches; width, iy oe inches Pe.) 


A THREE-QUARTERS vent a ee figure, facing front, the 
head slightly turned to the right. The gentleman has a mus- 
tache and a small pointed beard, and his hair is combed back 
from his forehead. His left arm is flexed at the elbow, the 
hand then hanging down; the right arm is covered by a mantle 
which is thrown over his shoulders. He is in a black costume, 
with a white ruff, and stands against a dark gray background. 


Painted in the second Antwerp period, about 1630. A copy of the pic- 
ture is in the Musewm of Dowat, under the name of “Portrait of 
Hubert Duhot.” | 

Reproduced in E. Schaffer’s “Van Dyke” (Klassiker der Kunst), 1909, 


page 243. “ 
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No. 28 


| | Dutcu 1606—1669 
LUCRETIA STABBING HERSELF 


Height, 461 inches; width, 39 mches 3 


SHE is depicted at more than half length, the figure facing the 
spectator, her head slightly inclined to her right. A dagger 
clasped in her right hand is pointed at her breast and her 
uplifted left hand is extended in the direction of the spec- 
tator. She wears a rich greenish-gold colored dress, with 
wide sleeves and a laced bodice. About her throat are a neck- 
lace of pearls and a cord with a jeweled pendant, and she has 
pearl earrings. 


“sho 5 Repeal Ng tigle 


Signed at the left, RempranvT ¥. 1664. 


Collection Lapeyriére, Paris, 1825. 


Collection of M. Zachary, London, 1828. 
Exhibited in the British Gallery, 1832. 
Collection of J. H. Munro, Novar. ; . 
Smith's: Catalogue Raisonné, London, 1836. No. 192. ~~ l, po a 
Sale Prince Paul Demidoff, San Donato, 1880. ¥° tf U lo fur . (4 ; 2 ; 7 
E. Dutuit: “Ciwore Complet de Rembrandt,” Paris, 1883. No. 114. 3 
Anonymous Collection, London, 1889. | 
E. Michel, “Life of Rembrandt,” Paris, 1893. No. 563. : 
W. Bode (assisted by C. Hofstedt de Groot), “The Complete Works of 
Rembrandt,” Paris, 1897. No. 595. Biv 
Hudson-Fulton Celebration Exhibition, New York, 1909. No. 105. 
W. R. Valentiner: “Rembrandt” (Klassiker der Kunst), 1910, page 


64:7. 
2 
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Anonymous Collection, London, 1826. : 5 | 

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No. 29 


vi : 
b JOSEPH MALLORD WILLIAM 
TURNER, R.A. 
EncusH 1775—1851 


EAST COWES CASTLE, THE SEAT OF J. NASH, 
ESQ.—_THE REGATTA BEARING TO WIND- 
WARD 

Height, 361, inches; length, 48 inchf¢ 
| UE a MOAN vVr 


THE yachts are sailing through a broken sea showing a big 
_ swell in the foreground, where to the left a buoy is floating. 
In the center is a group of rowboats filled with men and women, 
behind which, moored at the foot of the yellow cliff upon which 


East Cowes Castle stands, is the guardship, and there also are 3} : 
S 
S 
S 


other vessels, gaily decked with flags. To the right of the row- 
boats is the foremost yacht, with her yellow sails dark against 
the light sky. She is luffing to prevent being blanketed by a 
second yacht, whose upper canvas only, and a bit of her bow, 
are visible above and below the big head-sails of the first one. 
To the left of the rowboats the nearest yacht is close hauled; 
beyond her, in a line extending to the edge of the canvas, the 
remaining yachts are bearing away with their sheets started. 
To the extreme right, in the distance, is seen a bit of shore 
with some buildings, and before it a topsail schooner and other 
craft under sail, with gala or signal flags. ‘The sunlight flecks 
the sea and sails. A stiff breeze is blowin as the sails are filled, 
and the flags stand out in the wind. 


Exhibited at the Royal Academy, 1828. 

Algernon Graves’ “The Royal Academy Contributors,” 1828, No. 113. 

Sir Walter Armstrong’s “J. M. W. Turner,” page 220. 

Catalogue of E. W. Parker, Esq., No. 100. ~ #A4UMS — Wo 

Collection of J. Nash, East Cowes Castle, Isle of Wight, for whom it 
was painted, with a companion picture which is in the Sheepshanks 


i Collection, South Kensington Museum. £ i (oMms Ang of 
se Collection of E. W. Parker, J.P., Skirwith Abbey, Cumberland. 
e3678 Mer [ox AX KK ee S : 
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SIR LAURENZ ALMA-TADEMA, R.A. 
EneuisH 1836—1912 


CONVERSION OF PAULA BY ST. JEROME « 
(Panel) 
Height, 21 seu GE 45 inches 


A MARBLE pergola overlooks a sea of deep, opaque sapphire 
hue to a distant mountainous coast. Over the arbor grows a 
profusion of vines and ripening grapes. Against the thickest 
of the greenery Paula is seen reclining carelessly on jungle 


pelts thrown over the massive arm of the marble seat, her 


sandaled feet dangling above the floor to the left, as she leans 
backward athwart the picture, one hand on the bench behind 
her supporting her inclined position. Her back is to the 
ecclesiastic, but she turns her head partly to listen to him, bring- 
ing her face almost fully toward the spectator. Her expression 
is half-reluctant yet not unwilling, as she harkens to the hand- 
some and eloquent man, who is still young. She is of fair 
complexion, her light hair is bound in jewels, and she wears 
brilliant rings, and silken apparel of rich hues; and she toys 
with a jeweled necklet. The Saint, in vestments subdued yet 
rich, is seated at the right, his figure facing squarely forward 
but his head turned toward Paula till his fine face is seen 
almost in profile. He holds a partly unfolded scroll, and with 
his left hand points with the index finger to the zenith. 


Signed below the center, on the marble, L. Atma-Tapema, op. CCCL. 


MGT cae 


Purchased from M. Knoedler & Co., New York. Jan op- 9&6 mmSXxX 
4 


Q. Toth ome hoy /qq £3500 


. ae 


No. 31 


IR JOHN EVERETT MILLAIS, P.R.A. 
ENGLISH 1829— 1896 


THE PET BIRD ee 


| Height, 36 inches; width, 25%), ine rie 
hie Lona nw “GZ 
Facine toward the left, a little girl, nee life-size, and at 14) 
three-quarters length, stands with her head turned forward, 
her eyes looking straight at the spectator. A lace bonnet is 
placed upon her light-brown hair, which is banged across the 
forehead and loose and wavy at the back. She holds on the 
_ forefinger of her right hand a green parakeet, and her left arm 
hangs at her side. Her rich silk dress is embroidered with a 
large all-over pattern in delicate colors—light salmon-pink, 
white, and cool grays blending harmoniously—and has a 
beautiful lace band edging the opening at the neck, and lace 
cuffs. The dark background, representing a tapestry with trees 
and foliage, emphasizes the brillant coloring of the figure. 


Signed at the lower right corner with bie ana “1883.” 


thee 


ee 


“hee. S honey Soll TY $267, fh ago agl f h 


Exhibition of Old Masters, M. Knoedler & Co., New York, 1912. 76S5S 


x 


No. 82 


JOHN HOPPNER, R.A. 
EncusH 1758—1810 


MRS. ARBUTHNOT | 


Height, 4914 inches; met os is es Pee 


LIFE-SIZE full length portrait of a young woman, partly sitting — 
and partly kneeling, and facing the spectator. Her right arm 
rests upon a rock at her side, and rocks and trees make a dark © 
background behind her, but to the right the sky shows above 
a bit of landscape with trees and a distant hill, decoratively 
treated. Her face is turned three-quarters toward the left 
and inclined with a pensive expression; her light hair is dressed — 
with light silk ribbons. She wears a lawn dress with a cambric — 
fichu at the neck, and a sash at the waist. In her left hand, 
which rests in her lap, she holds some flowers. 


Wm. McKay and W. Roberts’ “John Hoppner,” page 5. ai /: s 
Collection of Sir Henry Hawley, England. : oy 7S - 


Loum Ce fay £1420 fax <x 


wy’ 


No. 33 


JOHN (OLD) CROME 
EncusH 1769—1821 


THE WILLOW TREE 


Height, 51 inches; igs via a ie 


THE composition is dominated by a group of trees—a birch to 


the left, and in the center two large willows—tising on the 


banks of a little brook which almost fills the foreground. At 


the foot of the willows is a bit of fence beyond a rustic bridge. 


On the right bank of the stream, a peasant on a pony is talk- 


ing with a peasant woman, and beyond them the distant land- — 


scape shows. The scene is bathed in summer sunshine, the blue 
sky being almost covered with soft white clouds. 


Exhibited at Winter Exhibitions of Old Masters at Burlington House in 
1876 (No. 280 of the Catalogue), and in 1891 CNG 33), when 


~ owned by Mr. George Holmes. 
Sale (about 1870) of the best known collection of pictures of the Nor- 


wich School, the Sherrington Collection (bought by Mr. George 


Mlas asK 


Holmes, from whom it came into Mr. Borden’s Collection). 
Exhibition of Old Masters, M. Knoedler & Co., New York, 1912. 


lam CGs ee 


i 


| No. 34 | 

wh GEORGE ROMNEY Sa — 4 

pv  Enerish 1734—1802 _ a 4 
\ THE WILLETT CHILDREN 4 hire | 

Height, 59 inches; wiflth, 47 inched, an 


THE portrait of three children, 4 brother and his sisters, with a 
landscape background filled with an evening sky, against which, 
to the right, is broadly sketched a group of trees. The two 
girls, dressed in white, are sitting on the ground. ‘The boy 
stands at the left, his blond, long and curly hair framing his 
face, which is turned toward the spectator. His hands are 
thrust in his pockets, and his whole attitude is one of boyish 
self-reliance. He wears a reddish-brown silk costume, a white g 

_ collar fluted on the edge, white stockings, and shoes with 
buckles. The little girls are holding hands. The older sister 
in the center faces forward and looks upward; the figure of 
the younger one, to the right, faces the background, but her 
head is turned around and she looks mischievously at the spec- 
tator. Both wear sashes, the one on the right of blue, the bow 
of which is seen at her back; the other of yellowish-brown. 


Thomas Agnew & Sons, London. 
Humphry Ward and W. Roberts’ “Romney,” Vol. II, page 171. 


omfg [IS Bec. | 


3 et ae ie sae 
ie “4 : 


. ¥ 


’ 


No. 35 


y, GEORGE ROMNEY 
ENGLISH 1734—1802 


a“ COUNTESS OF GLENCAIRN Re 
4 pat _ Height, 6814 inches; width, pun he ge Be 
| Lire-siZE full-length portrait ed a young woman who stands 
in an easy pose, with her right knee bent and her right arm 
resting upon a high pedestal, the hand raised to her head, a 
which is turned three-quarters to the right, with the eyes look- _—_, 
ing up. Her chestnut hair, warming to auburn tones, and ~ 
dressed with silk ribbons, falls over her shoulders. Her left 
hand, hanging gracefully down, holds the soft purplish-pink 
drapery, which, folding over her right arm and showing along 
her left side, serves to bring out the white of her very simple 
dress, opened V-shape at the neck and with a dark blue sash ~ 
at the waist. The stone pedestal, the large vase surmounting 
it and tree trunks behind it form a solid dark background to 
the left, while to the right the background is filled with sky, 
with foliage at the top and a bit of landscape showing at the 
bottom. 


(The identity of the lady is not absolutely established. Romney’s 
ledger, under No. 33, Lady Bell Cunninghame, registers two whole- 
lengths and one half-length of the lady. (See Humphry Ward 
and W. Roberts’ “Romney,” Vol. IT, page 69.) A Ue | 

Collection Cunningham-Graham. ater 6. eh 

Exhibition of Old Masters, M. Knoedler & Co., New York, 1912.  . hele xx @ 1 


COPE aire Cs LS xxx 


e's 0) ; A cos ts 4 : 
Vat Ws. A Go! won 
a ra ~ A PAKQ Cet x, ¢ yd . . \ \ t t 

{ 


No. 36 


ALBERT NEUHUYS 


DutcuH 1844— 


MOTHER AND CHILDREN 


Height, 20 inches; pts 16 AC, 


To THE right, in 
a corner of a 
room with plain 
tHed L076 Tr Fa 
Dutch woman of 
the people is seat- 
ed in a straight- 
Wacked chair. She 
is turned toward 
the light, which 
falls from a win- 
dow partly show- 
ing at the left. 
At her knee 
a lovely child 
stands looking 
down at and 
playing with an 
older one who is 
on the floor at the 
right. The bal- 


ance of light and dark masses is admirable, and the whole com- 
position gives an intimate and pleasing glimpse of a modest 
home in the modern Netherlands. 


Signed in the lower left corner, ALB. NEUHUYS F. 


\ 


J 


Durex 1838—1888 oe : | 


WINTER LANDSCAPE oe 
Height, 28s inches (Tat VIM inches Vy = 


In a wood, between a heavy log fence at the left and an ‘isi 8 Dok 
bank on the right Wwaetc bate trees stand up: to the top ¢ of | f the rote 
' es ‘ 


foreground to where its full eden iS octipla by a Rees 
cart. A man seated on a load of wood is driving the cart 
from the spectator. One feels the turn and dip of the 
beyond, and the whole background is filled with a mass of tre 


ee _ ey 


pa a atta label 


below a gray sky of exquisite quality. -"\) 95 = aaeae mt 


oS Parcs £2 


Signed in the lower Be -hand corner, A A. Mavyn. 


Purchased from M. Knoedler & Co., New York, 1895. af 3( ms SKK. ted | 3 


BVK es - P7350 = 


yt” see 


i! Ye 


Boy 
ae 


Se a ne ee al LY Ce ee a LS TE 


No. 88 


H. A. DIEFFENBACH 
GERMAN 1831— 


THE FOSTER MOTHER ff 
ro Vr. W- Lanna lee 


3 >) Height, 19 inches; width, 14% inches 


A YOUNG girl smiles out at the spectator from the doorway of 
a barn that shows partly to the left, against the door-post of 
which she is sitting, on the hay-covered floor. She is holding 
comfortably in her lap a baby. Her costume is of the peasant 
order, and she wears a fringed fichu around her neck; her feet 
are bare—also her arms from the elbow. In her right hand 
she holds a branch at which a goat is nibbling surreptitiously. 


Signed at bottom toward the right, H. A. Dirrrensacu. 
Charles J. Osborn Collection, New York, 1893. — © 7% = § SNXX— 


No. 39 


AUGUST SIEGERT 
GERMAN 1820—1883 


THE OLD GRANDMOTHER | 
ca "qe Height, 28 inches; ee ee &! (?. VW ny 


In a bourgeois interior, the grandmother, sitting in a high- 
backed chair, has fallen asleep at her spinning. Before her is 
her spinning wheel, behind her a wooden cabinet with a clock 
and ornaments on the top, and partly showing at her side is a 
table covered with embroidered stuffs upon which lies an open 
Bible. Two little children have come in to announce that supper 
is ready—they have their napkins on, ready for the meal—and 
stand amused and half hesitating whether to wake her. 


Signed in the lower right corner, A. SIEGERT. 


No. 40, o : Bite 
KARL JOSEPH LITSCHAUER 
German 1830—1871 : ae 
THE COUNTERFEITERS ik Ss 


Height, NY bet iggph 401, inches rt. 


THE scene represents an Ce od s workshop, » 


left, two men are looking with alarm at the closed door to ‘ ; 


the extreme right. The white-haired alchemist, in fur coat, 
crouches behind and at the left of his powerful-looking peasant 
helper, who stands holding in arrested movement a sledge- 
hammer with which he had been ready to strike a die held by the 
alchemist over a piece of metal. Their fierce watch-dog stands 
near the door, snarling. The place is paved with irregular 
stones. The light falling from on high to the left reveals 


_ bottles and vessels scattered all about, and the writing-shelf 


of a cupboard, near the door, where a large book stands open. 


Signed at the lower right, K. J. LirscHaver. 


Pte 
AP “ 
r : } a wb ot lnag fap ce ae 


No. 41 


LUDWIG KNAUS 
German 1829—1910 +o 


A BAVARIAN HOLIDAY 


Height, 40 inch se 5 vo Wed 0 Ue re 2. 


ATTRACTIVELY atria among t ees an owering shrubs, and 
with a rustic fence surrounding it, is a terrace in front of a aa 
Bavarian inn, where a number of people from the city are 
sitting at tables, eating. In the foreground a little girl in trim 
and dainty attire, who has just come down the steps of the 
terrace, is distributing from a basket which she holds under 
her left arm cakes and delicacies to a group of village children. | 
The little tots are so delighted at the unexpected treat that they — 
have quite neglected a baby, who is crying on the ground, his 
shoes kicked off. In the immediate foreground at the right, 
with his back turned, stands an older boy, who seems already 
to have learned to distrust the world, and can hardly believe 
the reality enacted before his eyes. Beyond him at the end of 
the terrace is a swing, where several children are collected. At 
the upper right appear the house-tops and church spire of the 
village. 

Signed at the lower left corner, L. Knaus, 1890. 


STi cae Oe > 


fms” 


yor. ) No. 42 
A . FRANZ VON DEFREGGER 
GrerMAan 1835— . AN Pa 


THE ADVENTURE 


Height, 4314, inches; re 5434, a 


GROUPED about an outdoor kitelen built ¢f logs and rough- _ 
hewn timber, a group of Tyrolean peasants is listening to the 
tale of a hunter, who with pipe in mouth and hat on the back 
of his head is seated at one side, and leaning forward gesticu- 
lates with his left hand to emphasize some. point in his story. 
His gun, strapped over his shoulder, hangs with the muzzle 
down. Before him to the right are his listeners, two girls and 
three men; one girl is standing, the others of the group are 
seated or reclining. Their poses and expressions show how 
wholly absorbed they are in the recital. In the center of the 
composition, but in the shadow inside of the kitchen, an old 
woman wholly preoccupied with her cooking is stirring some- — 
thing in a large copper kettle hanging over the fire. Between 
her and the seated girl a boy attentively watches a little girl 
stringing beads. Curled up in a corner behind the story-teller 
is a mountaineer, sound asleep, and above him, hanging from 
beams, are curiously patterned scythes and rakes. The scene 
is in the T yrolean Alps. uy 


Signed in the lower right corner, F. DEFREGGER, 1892. 


SET OL ETE 


CONCLUDING EVENING’S SALE 
OF PAINTINGS 


FRIDAY, FEBRUARY 14, 1913 
IN THE GRAND BALLROOM OF 
THE PLAZA 
FirTH AVENUE, 58TH TO 59TH STREETS 


BEGINNING PROMPTLY AT 8:30 O'CLOCK 


i 


ET Te NE I ete 


No. AG Gia | — - 
ADOLPHE MONTICELLI 
Frencu 1824—1886 


COURT D'AMOUR 


Height, 14 inches; wa WE wehe 


On a hillside, against the edge of a dense wood, with a ary 
glimpse of sky showing to the left, is a group of poetic figures, 
all women, eight in number, some of whom are reclining, others 
sitting or standing; a little Cupid is in their midst. Their poses 
and costumes express elegance and distinction, and the whole 
canvas is permeated with the color, gem-like in texture and 
quality, which is characteristic of this fascinating painter. 


i 
} 
i 


wesccy eis 


sp ment os anne ee mane te 


a Aces ._ ~~ 7 _ 


No. 44 | 
ADOLPHE MONTICELLI | 
FrencH 1824—1886 


ROMANTIC SCENE 
Height 14 inches; ‘idth. Jor inches 


CLR. We Vr 
Ina NerEne of eneacd hillside and trees, neue out against 
a broken sky, is a group of ten women, clothed in garments of 
rich and rare color. Two are seated, and about them as the 
central point of the composition the others are rhythmically | 
placed in expressive and distinguished attitudes. The ees 
is full of mystery and poetry. _ a 


SORE SN Ay 2 OE gry SRNR REIT me 


Signed in the lower left corner, MontIceLit. 


SESE EAA PRIS SIN Ee NEY YO, 


eee None 
; 3 EUGENE FROMENTIN 
~Frencn 1820—1876 ) 
‘S:A LA FONTAINE | = a 
(Panel) * = c 
Height, 14 inches; width, 1014 inches + a 
: Aes : wi ee 
THE scene is in Algeria and the personages a a To <= 
the right—set in relief against the foliage of a‘clump of trees ag 
and with the trunk of an olive tree crossing before it—is a _ 
tall stone fountain where a young man holds a large pitcher | 
under the jet of water. Before its basin, which extends almost 
to the extreme left, a man leaning against its low wall, and — 
holding by the halter a beautiful horse, talks to another man 
sitting on the ground to his left. The shining gray-white coat. 
of the horse is brought out conspicuously by a dark-bay horse 
standing at the back on the other side of the basin. Before a_ 
tree which is at the extreme left in the middle distance, a man 
is coming forward, and near him a bit of blue distance shows. 


The sky, blue with light clouds, is luminous, and the ee 
is full of sunlight. 


Signed in the lower Pees corner, Fue. Enos 


Purchased of M. Knoedler & Co., New York, 1895. Sry 


oxen - 
2 ee cor]9s Faixxx 79-56 Hs Kn 


UME 34 


No. 46 


ALEXANDRE GABRIEL ‘DECAMPS | 
Frencu 1803—1860 


LES PETITS NAUTONIERS ee 
| Height, 13 inches; length, me, 


In the courtyard of an Italian farm, a low stone haa ic 
is set against the wall in a corner, is being filled with water 
from a primitive wooden pump that a little boy is working with — 
all his might. Standing before it another boy, and a little © 
- girl who holds a dog under one arm, are intently watching a — 
toy sailboat floating in the basin. 


Signed dese up at the left, D.C. ~ 


Collection of Earl Northbrook, asta a a 
Purchased of M. Knoedler & Co., New York, 1895. 776 3 fs x x? ina 


A<T ct/oc Figeco- | aa 


oe Lol q 
\ yr’ 4 


eh cme 


we 


No. 47. 


JEAN JACQUES HENNER 
. Frencu 1829—1905 
mMPENSEROSA Pr foe 


Height, 181% inches; width, 15 inches 


AN idealized presentment of a young woman, her face turned 
to the left in full profile, and resting upon her right hand. The 
suggestion of an open book is before her. The hair, which is 
light chestnut, and the luminous quality of the flesh, brought 
out by the deep, full crimson of the dress, and the dark back- 
ground, are characteristic of this distinguished artist. 


Signed in the lower left corner, J. HENNER. 


PIS Ys 
Purchased of M. Knoedler & Co., New York, 1895. 1¢d5°0 aosx- / Ady 


CA . Prager oS /9¢ 650 


No. 48 — 
JEHAN GEORGES VIBERT — 


¥ 
pv Frencx 1840—1902 
5 : A THEOLOGICAL DISPUTE | 
‘HT: eight, 12 etx length, 17 mches 

In an interior with tapestried mally showing only to the hefght 
of a large carved mantelpiece, which | occupies half of the back- 
ground, two ecclesiastics are seated in big armchairs, turned 
back to back. The one facing the mantelpiece, of the nervous — 
type, sits with his legs crossed, his right hand clutching the 
back of his head in an attitude unmistakably significant of very 
high temper. The other, turned toward the left, is of a more 

- sanguine temperament, and his big comfortable person, dressed 
in the light robe of some monastic order, fills the velvet uphol- 
stered fauteuil whose arms his hands are clutching. His frown- 
ing face expresses stubbornness and resentment. On the plain 
wooden floor at his side a massive volume is lying, where it may 


have been thrown in anger. Behind him a cloth-covered ae 
is loaded with Doon bottles and dishes. 


Signed in the lower left corner, J ee ViserT, 


E. S. Chapin Collection, New York, 1898. Catalogue No. 82. -hX LOO a 


: 
ft 
’ 
' 
: 
iF 


at 


| No. 49 
JEAN THEODORE GERICAULT 


Frencw 1791—1824 


THE WHITE HORSE Qudau Were 


sf 


Height, 21 inches; length, 2614 inches . | 

A FULL-BLOODED Arabian stallion, seen from the side and 
facing to the right, is standing in front of a stone pillar against 
a dark stable background, with a drinking-trough set against 
a wooden stall before him. With waving mane and tail, and 
neck arched, he holds his head down, with an attentive eye look- 
ing at the spectator as if fully conscious of his presence. The 
light as it falls on the sleek coat of the finely developed animal 
reveals every detail of the modeling. 


-large, the sense of height and the solidity of the ground being 


No. 50 


ROSA BON HEUR 
FRENCH Be 


HIGHLAND CATTLE AND SHEEP ON A MOUN- 
TAIN PASTURE 


Be 


Height, 2014 inches; length, 31% Mae 


THE scene represents an upland pasture, and in the distance — “ 
crests of mountains are seen. The central figure is a handsome ~ s | 
bull, seen from the side and facing to the right, his dark hide Ss - 
contrasting strongly with the sky and with the light tones 
of some sheep lying on the ground before and beyond him. A — 
little removed at the right are two cows, one of which is lying 
down. The lines of the landscape setting are simple and — 


finely expressed. 


Signed m the lower left corner, Rosa ee 1862. — a -. | 
} a) y ; 
Collection ae Sir A ames ome pe eee 189 I # 8 4 y ‘ aN $) / 
Purchased of M. Knoedler & Co., New York, 1899.- §86{ Qo0.SKXK— | 
frou hho kdb; eon LIC OY 
> 
bs 


af 


2S i ET aT 


No. 51 ae 
JEAN LOUIS ERNEST MEISSONIER 
Faexeh 181521890 | — 


A CAVALIER 
Height, 1A inches; ietie 634, ne 


LEANING against the end of a wall RA the spectator, a 
French Louis XIII musketeer stands in a careless pose, with 
his right arm crossed over his chest and his left hand curling his 
mustache. His costume consists of a light yellowish-brown 
leather coat having silk sleeves, striped in two shades of yellow, __ 
which show their blue satin lining at the wrists; gray velvet 
trousers; high boots of brown leather, the cuffs of which are 
turned down; a lace collar and fluffy wristbands, and a soft 

_ felt hat with a feather. The hilt of his sword shows at his side. 
On the wall to the left hangs a fine tapestry of which little more 
than the large border is visible. In the remainder of the back- 
ground, which is dark so as to bring out the figure, is an open 
oaken door, beyond which a glimpse of a window shows pote 
heavy draperies. 


Signed at the bottom toward the left, EK. Metssonier, 1880. 
AAV AGS a ~ 
Collection of Charles J. Osborn, New York, 1893. Catalogue No. 7 pé Ex x 


MK: 3/32. fore ad Gen Cull. Law bdo Fer OB KKK ra 
Sota a Gb 89 | 0 A RKC S 


ae 


ey 2 


yo No. 52 
ww i 2 JEAN FRANCOIS MILLET | 
| French 1814—1875 Ss 
“WSLE GARDEUR DE MOUTONS — 
(Panel) 


Height, 14 inches; widt}, 10% inches 
i 


cloak, his face turned toward his flock, is eee bot a 
hands on his staff. To the right his dog, in Petia) shadow, _ 

keeps watch. The rest of the picture is all sunlight! The sheep m2 3 
are massed below in a narrow space, beyond which rises as 

hill that is topped by a ee of trees silhouetted Bei the 

summer sky. : Ft 

Sioned in the lower left corner, J. F. Mune. “s 


Purchased of M. Knoedler & Co., New York, 1A S2zp. av-! 


—e 
“hr allt of. FH6ooo - Pa 
pup. ‘ ae ie 2 

u e ; ; ; ' > Fat. 

S$ » ‘4 : om wv ve & 

"8 % ; , wd. a: 
ee wt Vi * + toe : } 
rr 1 Ta & ® 
~. # AG, we 


MILIET, Jean Frangois Born 1814 
Died 1875 


27355 a 
9521 * Berger et Trdpeaa * 


——— i eneeemamemmmaneaael 


15 x 11-3/8 


Bought by Mr.Fr.Hartmam of the Rue de Courcelles (same man 
who made @ public sale in 1851) from the artist who was his friend. 
Sold by Hartmann to the Scheurer Kestner from whom we bonght 
ite 

The Scheurer Kestner is an old Alsatian family who has sent 
many members of their family as senators and deputies to the 
Prench Parliament. 


No. 53 . 


PIERRE ETIENNE THEODOR 

ROUSSEAU ee: 

_ Frencu 1812—1867 \( 

\> ge LE PLATEAU DE BELLECROIX 
as (Panel) 


~ 


. Height, 1014 ie length, Q11, inches 


A FLAT landscape with a clear, radiant sky, and a horizon line 
which extends with almost severe simplicity straight across the 
canvas, is enlivened throughout its length by trees standing in 
clusters and singly. The picture is lighted by the rays of the 
setting sun, except the foreground, which is enveloped in 
shadow. Just beyond this shadow a stream moving pic- 
turesquely through the meadows shows here and there, and 
near the center a cow is drinking, watched by a peasant; near 
_their right is a tall tree. A darker tree to the left is a significant 
note in the balance of the composition. The picture expresses 
the serenity and beauty of the hour. 


Signed in the lower right corner, 'TH. RoussEau. 


$2 \. "hee belay» 


PAYS AGES 


Py Daber, Pos : Woo ~ Jus igkis Hy : | 


er 


S 


SS ae te waa ee 


tg 


ad ahd 


me PIERRE ETIENNE THEODORE | 
VY -- ROUSSEAU 

ms Frencu 1812—1867 

esTHE POOL IN THE FOREST 


(Panel) 
Height, 1058 inches; length, 185 inches 


THE picture: represents a romantic site in the Forest of Fon- 
tainebleau and is distinguished by the fine design of groups of 
trees against the afternoon sky. Striking across from the right, 
where some foliage is illumined, the light shines full upon a 
mass of trees at the left. In the center is a little valley cast in 
mysterious shadow, where a pool can be discerned, with here 
and there the top of huge boulders glistening in the light of the — 
sun, which also touches the tops of trees at the left. A woman 
sitting on a rock is fishing. Soft summer clouds sail across the 
sky. | 


Signed at lower left corner, Tu. RoussEau. 


Purchased from M. Knoedler & Co., New York, 1901. Jan 1 Sx XK ~ 


ir alert S/o 0 F 1000 - 


ae ¥ oO 


Soe ady * ri 


ay 


ese: 
Sar Mata ic: 


USSEAU 


RO 


, 


ty 


t 
5 


ie 


ane No. 55 
veg PIERRE BTIENNE rental | ss 
Faencw 1812—1867_ ed = eae 


NA 


\WwLd MARE A PLAT, FORET DE FONTAINE- 
BLEAU—SOLEIL COUCHANT eae 


(Panel) 


Height, 15 inches; length epee ie Ze ee | 
A*MEADOW and a range 0 Soiare low-lying hills houndine it * i’ 
are seen under a transparent and luminous evening sky, the 
light of which is being reflected in a little pool in the center of — 
the meadow. On the near bank of the pool two men are sitting, — 
one with his back to the spectator. Low-growing brush covers 
the foreground, where rocks show here and there. To the — 
right in the middle distance are two trees beautiful in char- 
acter and contour. On a further plane at the extreme left 
are farm buildings, seen among trees. 


Signed in the lower left corner, Tu. RousskEav. 


Purchased from M. Knoedler & Co., New York, 1896.~ # QI%* «x ~ 


. ~~ 
Collection of Comte de la Panouse, Paris. ae f leo aw 4. 
tid 


x 
ewe ( 


a 


ao & 


A SS 
a 


AS RS SERCO a REI ST Ea EI 


~ OO gl \ \ » =e 
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PIERRE ETIENNE THEODORE 


ROUSSEAU 
Frencu 1812—1867_ 


| "\ ‘-THE POOL—CLEARING OFF 
\ | (Panel) 


Height, 1334 inches ; MA I ge had 


AN expanse of uncultivated land is enveloped in shadow and — = 


occupies the whole foreground up to the middle distance. A 


path leading through stunted vegetation and outcropping rocks — My 


passes to the left of a little pool, near the center of the com- 


position, and here a woman is watching some cattle drinking. . | 

Trees extending from the center to the extreme left stand like 

Ce q: dark sentinels in a row, their tops only catching the sunlight, . 

ve Al and beyond them a plain illuminated by brillant shine’ “283 
. a\\ 44 stretches out to a far horizon. The sky is suffused wh soft a 


light, as the clouds of a showery day are dispersing. 
Signed at bottom to the left, Tu. Rousseau. 


Purchased from M. Knoedler & Co. pray GS - C.BAE.S. CG3o. A 
QZe-SXxX- 


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No. 57 


LA CUEILLETTE AU BORD DU 
CHEMIN 


BY 


JEAN BAPTISTE CAMILLE 
COROT 


VS-LA CUEILLETTE AU BORD DU CHEMIN 


_ Recorded and illustrated in “L’Ciuore de Corot,” by Alfred Robaut and — 


No. 57. 0") 
. JEAN BAPTISTE CAMILLE coROT Z 
FRENCH 1796—1875 * 


(Pastore in 1860- -65) +) Sats <a a 
Height, ae ee length ke ches : ao oa 


and very characteristic of the master. Filling the holes tig 
of the picture is a dense mass of trees whose upper branch 


a pollard aes at the left, forming an arch iro ee w 
road leads toward a distant horizon. Under the arch, 
is broken by the trunk of a birch, is a figure walking down th 
road, and houses are seen to the right. In the foreground, to 
the right of the road, are two figures of women, one stooping : 


‘apparently gathering fagots; to the left is a high bank in 


shadow. The delicate sky is suffused with pearly light. 


Signed in the lower left corner, Conor. sh 


Etienne Moreau-Nélaton, Vol. III, page 156. No. 1659. \ 
Exposition des Mattres du Stécle, Paris, Mai, 1886. No. 41. de 
Collection of J. Saulnier, Paris, June, 1886, No. 28;and March 25, 

1892, No. 4.~ Jom ALOK = 
Collection of Dr. Dieulafoy, Paris, 1893. : <a 
Purchased of M. Knoedler & Co., New York, ann TAS | e-«XK ~— 3 


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0 JEAN BAPTISTE CAMILLE COROT 
Frencu 1796—1875 


msSBOHEMIENNE A LA FONTAINE 


Height, 22 inches; yaya 16 


A arpsy woman stands against a background of eee on one . 
side and a distant body of water on the other. The figure i is ay 
three-quarters length and is turned a little toward the right. | 
She is looking down, her right hand at her bosom, her left hand a 
holding an empty earthen jar ree on her left knee, which i is oN 
slightly raised. | e 
This example is the original work, painted 1865- 1870. 
Several copies of the AIS exist. 


inches 


Signed in the lower left corner, Conor. 


Recorded and illustrated in.“L’Ciwore de Corot,” by Alfred Robaut 


and Etienne Moreau-Nélaton, Vol. III, page 60. No. 1423. 


Collection Perreau, Paris. a 
Collection Forbes, London, where it was wrongly labeled “Rebecca.” a = 


a 


Purchased from M. Knoedler & Co., New York, 1905. jfo2S~ aS Mi 


qo4q R. Fe Ary/o} PRY.000 Cet derean 


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JEAN BAPTISTE CAMILLE COROT 

Frencu 1796—1875 
hin- LE PONT DE MANTES 


Height, 18 inches; lengt pg inches 
nvm -»* arent | 


From under the arches of a massively built stone bridge to the = | 
left, the river Seine flows down to the right, framed’ between 


grassy banks. On the near shore in the foreground are two 
figures, those of a woman and a child, with a dog, and at the 
extreme left is a pollard willow; at the water’s edge on the 
opposite shore three women are washing, and above the crest of 


the high bank, between the trunks and the foliage of poplars a a 
and other trees, one gets glimpses of the town, which spreads ne yy 
beyond the bridge, where a church stands as the dominant 


building. At the back is a hill softly outlined below a tender 
-and luminous sky. The whole tone of the picture is silvery. 


| Signed at bottom, to right of center, Coror. 


Between 1850 and 1860 Corot painted several pictures at Mantes— — 
Mantes, surnamed La Jolie—many showing the bridge, and 
between 1868 and 1870 two pictures of this bridge seen from 
entirely different wews. 


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No. 60 


“JEAN BAPTISTE CAMILLE COROT 
Frencu 1796—1875 


LE BATEAU AU CLAIR DE LUNE 
(Painted in 1871-1872) a 
Height, 24%4 inches; lgrgth, 32 inches Gage 

Le. ‘ ou ee 
a LARGE body of water, extending from a misty ‘and. obse 
distance into the foreground, indents the shore here beneath # 


position.’ To the right is a Beat with three persons, cone « 4) 
-whom is making ready to hoist the sail. A full moon is s. 
across the center of the composition, its light reflected ir 


a a a 


faintly outlined there. Beneath the nearer trees a nekennt 
stands, the upper part of his body silhouetted against the sk 


ing. mT 
Signed at the bottom to the Be: Conor. . 
Recorded and illustrated in “L’Ciwore de Corot,” by Alfred Robund and 
Etienne Moreau-Nélaton, Vol. III, page 346. No. 2263. a 
Exhibited at the Corot Memorial Exhibition at the Ecole ae Beaue- 
Arts, 1875 (No. 94 of the Catalogue) ; and at the Paris Exposition " 
Universelle of 1878 (No. 206 of the Catalogue). a 
Collection Verdier, Paris. 
Collection of M. Durand-Ruel, Paris, 1895. 


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No. 61 
MANTES LA JOLIE 
BY 


CHARLES FRANCOIS DAUBIGNY 


No. 61 
CHARLES FRANCOIS DAUBIG 


-. Frencn 1817—1878 \ 
S MANTES LA JOLIE ay J 


(Panel) 


Height, 74 CG es (3 5p inches Y 


FLowine between wooded bankg—that on the right being ae 
nearest, and its trees rising up to ne top of the canvas—the — : 
Seine comes out straight toward the foreground, filling it. A 
little to the right of the center of the picture, in the middle 
distance, is a stone bridge, with arches, and leading up to it ae 
at the left are some buildings of the town, dominated by the tall = 
- twelfth-century collegiate Church of Notre Dame, with its 
two towers and peaked roof. Beyond the bridge some hills 
appear in the distance. The sunny serenity of the sky is 
emphasized by a few thin, pink clouds. The bridge, the village, — = 
and the masses of foliage on both sides are reflected in the 
quiet water. | 


Sth a Te 


Signed in the lower right corner, Dausicny, 1858. 


Amold & Tripockare 1808. 
Purchased from M. Knoedler & Co., New York, 1895. THIS p- tenets 


Ar ale F ij000 | 
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No. 62 


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: No. 62 e 

0 CHARLES FRANCOIS DAUBIGNY 

a _ —~Frencu 1817—1878 a 

“\ QATHE BANKS OF THE OISE—SUMMER 
i (Panel) 


Height, 12/4 inches; len ie 


Comine out from the left behind the shrubbéry growing — ‘a 
on a low bank, whose grass and reeds fill half of the fore. 4 
ground, the beautiful Oise flows peacefully toward the fore- a 
ground at the right, its quiet waters reflecting the i fo | 
shore, where the houses of a little village are scattered amidst _ 
the greenery, and where a tall poplar rises high against “a : 
limpid, sunny sky filled with soft, fleecy, pink-tinged clouds. 
a 
Signed in the lower left corner, Dausicny, 1866. _ 


7824 We GOe hele — . 
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No. 63 
THE WILLOWS 
BY 


CHARLES FRANCOIS DAUBIGNY 


No. 638 


CHARLES FRANCOIS DAUBIGNY 
AS: Been on 1817—1878 


wn THE WILLOWS 


(Panel) 


| Height, 1734 inckbs; length, 3214 mche TA a 
In the center of a plain bordered by low hills on the horizon, 


a little stream comes forward, filling the foreground. On its 
left bank willows are disposed—some of them pollarded—in = 
clusters extending to the right, where before a distant solitary _ 
cabin is seen a shepherd with his flock. On a rocky projection oe 
of the bank at the right, four peasant women in a group are : ae 
washing linen in the river. ‘a 


Signed in the lower right corner, Dausieny, 1864. i: 


Collection of F. A. pu 
/ We Zz NO of Wrehased frie M. Knoedler & Co., New York, 1911. 6 KX K = 


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No. 64 


JULES DUPRE 
~Frencu 1811—1889 


$ PASTURAGE NEAR L’ISLE-ADAM 


(Panel) 


Height, 11 inches; (Se 1614 inches eee vas om B ) 
In a fresh green meadow a few ee are grazing and one is 
lying at rest. A little pool bordered by high grasses and wild | a 
flowers shows in the foreground to the right. In the middle 
distance, in the shade of one of a group of shady willows which 
-are the feature of the composition, a peasant woman sits watch- 
ing the cattle. By a delicate gradation of values the eye is led — 
on through different planes to the far distance. The sky is’ aa 
gray, with lines of light breaking through along the horizon. _ 


Signed in the lower right corner, JuLtes Dupre. 


Collection Nourrit, Paris. 


Purchased from M. Knoedler & Co., New York, 1896. "7G 7) f S xXx 


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as a blurred mass, with a few trees appearing in the middl 


- bits of blue here and there amongst the heavy clouds. 


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No. 65 


JULES DUPRE 
- ae Frencu 1811—1889 


tree, whose distorted trunk and beaneiee are full of rag me 
character. Behind it a dead oak comes out from a pack sae | 
of other trees. To the right a stretch of low country is seen 


distance near the edge of the canvas. The stormy sky shov S 


ery 


Signed in the lower right corner, J ULES Dupri. 


A in94q ° 


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No. 66 — 


JULES DUPRE 
Frencu 1811—1889 


YW LANDSCAPE—HUTS NEAR A POOL” — 


Height, 12%4 inches; length, 16% is 


A VIGOROUSLY painted landscape, with an old and scraggly | 
—rising at the left and bending toward the center of the pi 
—whose trunk is reflected in the pool occupying the imme 
foreground, its shores bordered by reeds and grasses . The 
sky-line is broken at the center by a group of thatched build-_ 
ings strongly lighted from the left, and at the right the ground 
rises. The sky is full of movement, with some clouds modeled — 
in strong light and others presenting broad masses in shadow. 
Signed at bottom toward the right, Juues Dupre. a 

Collection Dreyfus, Paris. . - pes 
Arnold & Tripp, Paris, 1895. (ae i : 
Purchased of M. Knoedler & Co., New York, 1896. Fe Ox eo 


Oe XG Fts-00° 


No. 67 


JULES DUPRE 
Frencu 181 ee 


at A SUMMER LANDSCAPE 


Height, 29 neigh 37 ime. iQ 


In the center of the composition, amidst rocks scattered on its” 
banks and in its bed, a brook which comes from behind a hill at : 
the right, skirting the hill’s foot, winds its sparkling and sinuous — 
way to the foreground. An old woman is walking in a path up | 


the slope of the hill, between fine trees, toward a house the roof au } 
of which shows above the crest. On the other side of the brook, 
meadows with trees in the distance spread out and extend to 


the mountains of the horizon. ‘The blue summer sky is over-— 
spread with active white clouds. 


a : Signed in the lower left corner, JuLES Durrt 


I ee pe RSS ee ee ne a eee 


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_ dress and wearing a white mantilla, and a cavalier in dark 


No. 68 


NARCISSE VIRGILE DIAZ DE LA PENA 
Frencu 1808—1876 coer 2 Ep 


LA DISEUSE DE BONNE AVENTURE } 5 a 
Height, 28 inches; width, Wa bara 


¢ 


In a summer landscape, under a bright sky with cloud cade 
against a background of trees topped in the distance by a high 
peaked mountain, is a group composed of five figures Beery 
before one figure sitting to the right, that of a gipsy woman. 
In the center of the composition a young woman in a blued : 


costume back of her, watch the little girl in pale-salmon dress a a 
whose fortune is being told. Between this child and the gipsy ee 
is another little girl, who seems absorbed in the event, as does a 
the young page who accompanies the lady and stands behind — 
her. The hand of the latter rests on the neck of a white deer- — a | 
hound, near to which at the extreme left a black dog is lying. 


Signed in the lower right corner, N. ee 15. 


Pi te gO, YIry 
M2 hon ft (G ay /e3 Prato 
Sou) Ter /e 9 LK o. 

Yak pes. 1/72 on Sx— 

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hie spare NEAR FONTAINEBLEAU 


No. 69 | ; 


Frencu 1808—1876 


Height, 304 inches; ‘Ss Lipsy rY at 


which stand on the horizon is an expanse of wild ie ’ 
rough grass, low-growing bushes and outcropping rocks, 
flat monotony of which is relieved in the middle distance by 
clumps of trees to right and left. The sky, which occupies 
almost two-thirds of the picture, is very dramatic, with the 
red and yellow hues of the sunset largely hidden under f antastic 
clouds. Near the foreground, in the center, pools of water 
reflect the sunset light, and nearby a hunter, followed ia his a: 
ae is coming on hurriedly. i 


OR AC 


ae 


| ee No. 70 | he 
> a CONSTANT TROYON | ES cm " 
N as - Frencn 1810—1865 ae 


_ WS L’APPROCHE DE L’ORAGE a = 


eee 31 inches 5 ers fa: 


Aue rise to a distant horizon about half-way up ie vic 
Over it the approaching storm has begun to cast its shadow 
Coming from the right in the middle distance are some cattle, 
driven by two peasants, aman and a woman. The little hoe 


end of a verdant slope, and its leaders are cones forward i in x 
the middle of the foreground. 7 | | i 


vee in the lower left-hand corner, ¢. eee 1855. 


Collection of the Comte Daupias, Pane 1892. Catalogue No. 19%. “a 
Messrs. Leroy & Co., Paris, 1893. ae 
Blakeslee & Co. Trustee Sale, New York, 1893.- -#/38 HARMS 4 7 
Blakeslee Galleries, New York, 1894. 


pn rn ne ee 


“Noo 71 


ALEXANDER H. WYANT, N. ates 
AMERICAN 1836—1892 


SS THE APPROACHING STORM 


Height, 151% inches; len yy 19 et 
A VERY dramatic ay poetic landscape. — < tempest sk 


the horizon the ominous density of an approaine Bei whee 
somber tones bring out by sharp contrast the vivid light of a 
sunlit distance. A little above the foreground, in the center of — 
the picture, is a pool set amidst grasses and low-growing a 
brush, and to the left two trees are being tossed i in the wind, © a 
The painting is spirited and convincing. iS 


© Si 
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Signed in the lower left corner, Avgia Wyant. | : 


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SENET aENE 


( Rs a No. 72 


GEORGE INNESS, N. a 
AMERICAN 1825—1894 ka) 
wu SUNSET (MONTCLAIR) | 
H aight, 29 inches; ae 3Y inches / 


To the extreme right is a dense mass of foliage, fron rhich, 
toward the center, the trunks of two trees stand ‘out « ‘con- | 
spicuously, the light of the setting sun being seen. beyond - them. | 
Glowing patches of clouds sail across the sky near the horizon 
line, which, simple and severe, is broken on the left by some 
figures, those of a boy sitting on the grass and holding | a man- 
dolin, and a little girl standing before him carrying some fagots, 
in the foreground, and in the distance to the left the suggestion | 
of another figure, walking. In the extreme distance, near the 
center, a factory chimney is vaguely seen against the sky. In 
the foreground of stubble and wild flowers is the fallen limb 
of atree. This is a characteristic canvas of the artist, a poetic 
impression of the country about his NES J ersey Beet 


Signed in the lower right corner, G. [ee 1886. 


Collection of Erwin Davis, New York, 1889. Catalogue No. "1. -m ASK 


¢ You Py oy 
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—SO, GEORGE INNESS, N.A. a 
AMERICAN 1825—1894 


SUNSET 


STANDING out against the glowing evening sky—which near 
the zenith is full of thickly gathering clouds—two noble elms, —__ 
beautifully placed at the right of the center of the picture, — 
stand on the right bank of a tranquil stream which flows for" 
ward toward the left. A field at the right is bounded by a low 
stone fence, beyond which a red-gabled building is seen among 
trees, and in the foreground are some stumps of trees and out-- 
cropping rocks. In the middle distance the stream is spanned __ 
by the arch of a bridge, and beyond are seen the roofs of houses — 
and a church steeple, among trees, masses of which extend 
across the picture and are silhouetted against the sky, except © 
at the left, where a distant hill rises in a gentlé slope. The : = 
picture beautifully expresses the solemnity and mystery of a 
departing day. 


Signed in the lower right corner, G. Tie 1865. — ; a 


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No. 74 


WORTHINGTON WHITTREDGE, N.A. 
“American 1820—1910 


SCENE IN CENTRAL PARK,1874 yy 
a7 ie _ Height, 16 inches; length, 3934 Ves (3 


THE peaceful waters of a little lake or stream in afpark extend 
along the foreground of the long and narrow canvas. Rising 
from the opposite bank, large, tall trees set in an irregular line 
stand in the shadow, their dark tones contrasting with distant 
groups of sunlit trees forming a parallel line. Between them 
is a wide avenue or mall, where a concourse of people is 
assembled. In the shadow to the left, a man standing on a 
raised platform is addressing the crowd, and back of him other 
men are seated. On the outskirts of the listening crowd people 
are walking about or seated on the grass. The figure nearest 
the spectator is a child dressed in white, who is sailing a toy 
boat on water that is filled with reflections of the dark forms 
of the trees. 


Signed in the lower right corner, W. WuiTTREDGE, 1874. 


) ,-ve Height, 23% inches; length, 411 inches 
fs) ees 


Tue light of a late afternoon sky 


No. 75 


JERVIS McENTEE, N.A. 
AMERICAN 1828—1890 


AUTUMN LANDSCAPE WITH FIGURES 


reflected in a widening 
brook which flows forward toward the left, where a dark mass 
of trees and their reflections make a fine contrast. To the right © 
of the center a group of bare trees crosses the sky, rising to the 
top of the picture. In the extreme distance, beyond low masses 
of woods, are hills to which by delicate gradations of values 
the eye is led from the immediate foreground. Figures of 
children animate the scene. In the center are two young girls, 
one leaning against a tree, the other sitting on a log. Coming 
toward them at the right is a young girl with a little child, and 
here and there boys are playing on the banks of the stream. 
The foreground shows a growth of stubble and low-growing 
bushes, with a beach of earth and stones to the left. 


Signed in the lower right corner, J. McEntEx, 1875. 


= 
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wu DLE WAGON DE TROISIEME CLASSE 


looks down upon the sleeping child in her arms. Near her 


handle of the basket she holds on- her lap, and looks’ directly ; 
— at the spectator; beside her, in the shadow, a boy with his hands" 


No.6 ae 
HONORE DAUMIER 
Frenco 1808—1879 — 


eee 25 inche: length, 3414 inches / ~ a 


ground and two of the winder show on ne left. a t 
the left on the first bench, and facing the spectator, a m ) 


older woman, wearing a hood, clasps her hands © over 


in his pockets sleeps soundly. Every one of the faces seen ins 
the background is markedly individualized. The handling is 
vigorous, and the picture has great beauty of tone and color. : 


Collection Duz, Paris. ee 4 
Arséne Alexandre, ““Honoré Daumier,” Paris, 1888. Catalogue, page 
375. | 


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No. 77 


FERDINAND VICTOR EUGENE 
DELACROIX : 
FRENCH 1798—1863 


Bua COMBAT EN ALGERIE 


Height, 35%4 wiaipee 2814, “Tat 


Ow the crest of an folted mountain, rising in the amddlems 
distance to the left, a walled and turreted town is being ~ 
attacked by a party of Arabs. The defenders, having come . ee. 
_ down to the foot of the mountain, are advancing toward and | 
: firing at the attacking party. At the right the scene is closed — 
in by a wall of precipitous cliffs, against which, at the very 
edge of the canvas, is seen a cluster of trees standing on the 
slope of a hill that comes down diagonally from the right and — 
fills the foreground. Arabs of the invading party are scattered — 
-on the path which runs along this hill, and one of them on 
horseback is descending into the valley, toward the enemy. A a 
wounded cavalier and his horse are lying in the foreground, and. 
beyond them a wounded Arab is kneeling. One of the last 
pictures painted by the artist, and first called by him “La Per. | 
ception de  Impot Arabe.” : | 


Signed at bottom to left of center, Euc. Drtacrorx, 1863. 


Collection Edouard André, Paris. 
Exhibition of the Pavillon de Flore, Paris, 1878. 


Collection Fop pt Nas ta . 
'.* ‘ 


JEAN LEON GEROME 
Frencn 1824—1904 


BONAPARTE EN EGYPTE 


ene 2414, inches; Me ee Pe eal Hy 7 q 


ON a barren hill in the forereonm the colossal ruined statue 
of the Sphinx stands at the right of the center. Napoleon has 
ridden up from the left foreground and sits his horse looking 
steadily at the Sphinx, both he and the horse seen in profile. 
His escort is not seen, but shadows cast on the ground at the 
extreme left show that it is there. A vast desert plain extends 
behind and below the Sphinx, toward the left, where, like an 
army of ants, the serried ranks of Bonaparte’s soldiers are 
marching. A chain of mountains extends across the extreme 
distance. ‘The sky is of unbroken blue, with the haze of heat 
lying above the horizon. The effect is of ewe light and 
opalescent color. 


Signed in the right lower corner, J. L. GiROme. 


Evhibited at the Salon, Paris, 1886 (No. 1042). 


Purchased of M. Knoedler & Co., New York, 1895. CAIZ[(. pe SAS | 


BEG? Se ap WK 9222 tee S a 
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No. 79 


ALPHONSE DE NEUVILLE 
FRENCH 1836—1885 


TRANSPORT OF PRISONERS 


(Also orn as “Retour de Reconnaissance’ >) } 


Height, 461 inches diffe, 31 (ingles 


TRuDGING along a muddy road which occupies the/foreground, — _ 
going toward the right, where it turns and leads up to the top) 
of a hill a few rods away, some German prisoners are being _ 
escorted by a few French cavalrymen. In the immediate fore- 
- ground one of the French dragoons, his head bandaged, has — 
dismounted and leads his horse; another, a non-commissioned 
officer carrying a number of Prussian pennants, has turned his | \ 
horse about and is shouting to someone outside the picture. : 
Before them the four prisoners, of whom two are Uhlans, are 
walking single file. At the top of the rise the officer command- 
ing the little escort shakes hands with an infantry officer, whose 
command is seen to the right at the edge of a wood. Before 
him two dragoons, carbines in hand, are leading the little RAE 
Beyond, to the left, are seen some hills. 


Signed in the right-hand lower corner, A. pp Neuvit1e, 1880. 


Collection of Charles J. Osborn, New York, 1893. Catalogue No. 89. = Pa. 


saete ocr eee ee a nage er 


No. 80 
JEAN BAPTISTE EDOUARD DETAILLE 
FRENCH 1848—1912 


PRUSSIAN CUIRASSIERS ATTACKING Ap 
REN CH CONVOY _ 


(Episode of the Franco-Prussian War, 1870) — 


Height, 3114, inches; By 5034. poe 


PRUSSIAN cuirassiers coming atone the right are charging aa “a 
toward a road, marked on each side by a row of poplar trees, a ‘ 
which extends transversely across the picture, above the fore- 
ground, and where the French infantry protecting aconvoy are 
making their stand. On the edge of the road, between the —_ 
poplars, the French soldiers are seen with bayonets fixed; a : 
few of them are firing, and a mounted officer is giving orders. — 
Behind them are the wagons, conspicuous among them a field — 
ambulance flying the Red Cross flag. Farther along, others — . 
of the soldiers defending the road are firing, and against the | ‘oa 
smoke from their volleys, horses and cuirassiers are brought 
out vividly. In the foreground toward the left a horse and his 
rider are lying on the ground. 


Signed in lower left corner, Epovarp DetaILyiE, 1882. 


Goupil & Co., Paris, 1890. 
M. Knoedler & Co., New York, £894. 3 
Collection of Charles J. Osborn, New York, 1893. Catalogue No. 91.> 4 EXK , 


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No. 81 

JULES ADOLPHE BRETON | 
 FreNcH 1827—1906 


LA FIN DE LA RECOLTE~ Be 


Height, 341/, inches; rege yp nce 
Ids og! 


AT the end of the day, in a flat landscape where fie de a 
back to the horizon, some peasants are hard at work gathering — Ss 
their potato crop. In the foreground a man, his head coming ~ 
in strong relief against the sky, is pushing a spade into the = 
ground, digging potatoes which a woman, kneeling in front = 
of him in the center of the composition, is gathering in her a 
apron. Near her is a high basket, and sacks filled with potatoés 
are standing at intervals beyond her. In the middle distancea _ 
man, a woman and a boy are pouring the contents of a basket 
into a sack, and a little to the right two men and a girl are 

loading filled sacks into a small farm wagon. Farther on and \aa 
toward the left a fire is burning, the smoke spreading low 
across the picture. Farm buildings and a line of trees are 
seen at the extreme left. The soft radiance of the setting sun, 
which has disappeared, is reflected in the red haze over the 
horizon and pervades the whole scene. | 


Signed at the bottom toward the right, Jutus Breron, 1894. 


Purchased from M. Knoedler & Co., New York, 1894, who obtained the 
painting direct from the artist. 7615S" aS.xXxx- 


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No. 82 


950 ROBERT F. BLUM, N.A. 


| 


AMERICAN 


Born at Cincinnati, Ohio, 1857; died, 1903. In 1890 he went to Japan, com- 
missioned by the Scribners to work conjointly with Sir Edwin Arnold. In the mean 
time his paintings had brought recognition and he was awarded bronze, silver and 
gold medals, and was elected member of the Academy of Design. Upon his return 
from Japan in the fall of 1892, after writing and illustrating articles on Japan, 
and completing several easel pictures, Mr. Blum made an entirely new departure, 
taking up mural decoration. The “Moods of Music” in Mendelssohn Hall, begun in 
1893, is his first serious effort along the new lines and is an initial proof, as later 
productions bear witness, that the artist was well qualified to exercise his powers 
in the broad field of mural painting. 


CEILING DECORATION 


Circular. Diameter, 11 


A nympu of fair hair and ample figure/ partly’ enwound with 
a diaphanous pale-green drapery, is resting, smilingly, upon 
a floating couch of roses, among pink-tinged clouds in a pale- 
blue sky. A joyous nymph enwrapped in filmy rose—this 
one with darker hair—clacks her fingers over the reclining one 
as though in time to a merry dancing tune, a tambourine, just 
visible, lying beside her rounded hip. A little below and to 
one side, a third nymph of the golden days, a brunette of 
supple figure, her filmy garment old rose and dove-color, seen 
from back and side with her head turned away, reclines on one 
elbow, resting her free hand on a violin and sheets of music, 
while amorini gambol about, and near by a volume, or bundle 
of music, bears the title: Spring—Allegretto. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


6S SR iS PT EE 


“4 


iv) 


BIOGRAPHICAL NOTES AND INDEX 


ALMA-TADEMA (Sir Lavrenz). ENGLISH 


Born at Dronryp, Friesland, January 8, 1836; died, 1912. Educated at the Gym- 
nasium of Leeuwarden, where he conceived a passion for Egyptian and Greco- 
Roman archeology, which became a great influence in his art life. Student of 
art in Antwerp Academy, 1852; subsequently pupil of Baron Henry Leys. In 
1870 he removed from Brussels to London, which was thereafter his home. He 
won many honors, was a knight of many orders, and a member of the Royal 
Academies of Amsterdam, Munich, Berlin, London, Stockholm, Vienna, and 
Madrid. Medal, Paris Salon, 1864. Medal, Second Class, Universal Exhibition, 
1867. Legion of Honor, 1873, and Officer, 1878. Grand Gold Medal, Berlin, 
1874. An Associate of the Royal Academy, 1876. Elected Royal Academician 
in 1879. Honorary Professor of the Royal Institute of Fine Arts, Naples; and 
Corresponding Member of the Academy of the Beaux Arts, France. 


4, UNWELCOME CONFIDENCES 
30. CONVERSION OF PAULA BY ST. JEROME 


BONHEUR (Marte Rosa). FRENCH 


Born at Bordeaux, March 22, 1822; died, 1899. Pupil of her father, Raymond 
B. Bonheur. Her first two pictures exhibited at Bordeaux, 1841, attracted 
much attention, and were followed by others which established her world-wide 
fame. First exhibited at the Salon in 1845. Her painting, “Boeufs Rouges du 
Cantal,” won her her first award, a gold medal of the third class, 1847. During 
the Franco-Prussian War, her studio and residence at By, adjoining the Forest 
of Fontainebleau, were respected by special order of the Crown Prince of 
Prussia. From 1848 she was Director of the Paris Free School of Design 
for Young Girls, which she founded. “Exempt” from Jury of Admission by 
special decree, July 27, 1853. In 1865, Maximilian and Carlotta sent her the 
Cross of San Carlos. Elected member of the Academy of Fine Arts of Ant- 
werp, 1867. Medals: 1845, 48, °55, "67 (Haposition Universelle). Legion of 
Honor, 1865, personally delivered by the Empress Eugenie; Leopold Cross, 
1880; Commander’s Cross of Royal Order of Isabella the Catholic, 1880. Officer 
of the Legion of Honor, 1894. Officer of the Most Noble Order of Santo 


Jacobo, 1894. 
50. HIGHLAND CATTLE AND SHEEP ON A MOUNTAIN PASTURE 


BRETON (Jutes ApoLPHE). FRENCH 
Born at Courriéres, in France, in 1827; died, 1906. He studied under Dréolling 
and Devigne, and made his first success in Paris as early as 1849. Within a 
very few years he established his reputation as a painter of peasant subjects, 


81. 


and when his picture “Blessing the Harvest” was bought by the French Goy- 
ernment he took his place at once in the front rank of French artists. Many — 
of his best pictures are now in the United States, and he is represented in 
most of the notable collections of modern art the world over. No artist has. 
been more popular, and no one has had a greater number of medals and other 
distinctions. He received, among others, medals at Paris in 1855, *57, 59, ’61, *67, 
and the Medal of Honor in 1872. He was made Chevalier of the Legion of 
Honor in 1861, Officer in 1867 and Commander in 1889. He was a correspond- 


ing member of the Academies of Vienna, Stockholm, Madrid and London, and a ae 


Member of the Institute of France. 
LA FIN DE LA RECOLTE 


¢f 


CONSTABLE (Jou), k.a. ENGLISH 


3. 


Born in 1776, at East Bergholt, Sussex, fourteen miles from the birthplace of 
Gainsborough. Son of a well-to-do miller, he was destined for the Church, but 
preferred the occupation of his father. Finally deciding to be a painter, he 
entered the Academy schools at the age of twenty-four, and exhibited his first 
picture two years later. He studied the works of Ruisdael in the National 
Gallery, from which he came to the conclusion that London could help him little 
in his art, and that it was nature which he must study, and particularly nature 
along the banks of his native Stour, which in after years he averred had made 
him desire to be a painter. Especially did he advance the study of light and 
air, and in his pictures for the first time the atmosphere moves and has its being 
in painted landscape. He was ahead of his time, anticipating the triumphs of 
the painters of Barbizon, on whom his influence was undeniable. He was elected 
to the Royal Academy in 1837. 


THE SLUICE 


COROT (Jean Barrisre CamiLie). FRENCH 


Born in Paris, July 20, 1796; died there, February 23, 1875. Pupil of Michallon 
and of Victor Bertin. Went to Italy in 1826, and in studying nature, as he 
continued to do on returning to France, in ‘Provence, Normandy, and Fon- 
tainebleau, learned to couple breadth of treatment with careful though not 
obtrusive detail. An eminently suggestive and refined painter, gifted with 
highly poetical and tender feeling, he has, from his peculiar excellence in 
treating still water, the sleeping woods, the broad, pale horizon and the veiled 
sky, been called the Theocritus of landscape painting. He is well characterized, 
in a sonnet by an American poet, as “Thou painter of the essences of things.” 
Medals: Second class, 1833; first class, 1848 and 1855. Legion of Honor, 1846; 
Officer, 1867. ; 

To Corot life was one unbroken harmony. “Rien ne trouble sa fin, c’est le soir 
dun beau jour.” His sister, with whom the old bachelor lived, died in the 
October of 1874. On February 23d of the following year, when he had just 
completed his seventy-ninth year, he was heard to say as he lay in bed, drawing 


57. 
58. 
59. 
60. 


in the air with his fingers: “Mon Dieu, how beautiful that is—the most beautiful 
landscape I have ever seen!” On his deathbed his friends brought him the 
medal struck to commemorate his jubilee, and he said: “It makes me happy to 
know that one is so loved; I have had good relatives and dear friends. I am 
thankful to God.” With these words he passed away—the sweetest poet painter 
and the “tenderest soul of the nineteenth century.” 


LA CUEILLETTE AU BORD DU CHEMIN 
BOHEMIENNE A LA FONTAINE 

LE PONT DE MANTES 

LE BATEAU AU CLAIR DE LUNE 


CROME (Joun), (“Orp Cromr’’). ENGLISH 


33. 


Born at Norwich, 1769. The son of a journeyman weaver, he was in due course 
apprenticed to a coach painter. His spare time was spent in drawing the 
scenery around his native city, and after the expiration of his apprenticeship 
he determined to be a painter. He eked out his scanty resources by giving 
lessons in drawing and painting. In 1805 he founded the Norwich School of 
Art, of which Vincent, Stark, and Cotman were the other leading representatives. 
In later life he visited-Paris and studied with eagerness the Dutch landscapes in 
the Louvre. Hobbema was his idol, and his own work is a direct and exact 
realism, pictorially arranged in a harmony of brown tones under the influence of 
the Dutch. He died in the city where he had spent his whole life, in 1821. 


THE WILLOW TREE 


Asp S a (ArLBERT). DUTCH 


23. 


Born at Dordrecht, 1620; died there, 1691. Landscape, animal and marine 
painter. This highly gifted artist was from early infancy associated with, and 
attracted by, the beauties of graphic imitation. His father, Jacob Gerritz Cuyp, 
an artist of no inconsiderable talent, both in portraiture and landscape, was one 
of the founders of the Academy of Painting at Dort, and it was from him that 
Aelbert received ‘his first instructions, and in his early works may be traced the 
style of his father. England appreciated and purchased his works long before his 
own countrymen recognized his ability, and some 200 out of 336 canvases 
painted by him were owned in England as late as the close of the nineteenth 
century. 


“THE MUSSEL EATER 


DAUBIGNY (Cuartes FRraAn¢co!s). FRENCH 


Born at Paris, 1817; died there, 1878. Son and pupil of the distinguished 
miniature painter of the French Restoration, Edme Frangois Daubigny, 1789- 
1843. He visited Italy, and returning in 1836, studied under Paul Delaroche. 
Daubigny was, with Rousseau, Corot, and Jules Dupré, a lover of the banks of 
the Oise. On a boat arranged with all necessary equipments for a house and 


studio combined, he made long excursions on the Oise and the Seine. A dweller 
in the open air, he rendered with all the freshness of springtime the tender — 
accuracy of color which contact with nature alone made possible, and brought 
to landscape painting an unusual grace. Medals: 1848, 53, °55, ’57, *59, ’67. 
Legion of Honor, 1859. Officer of the Legion of Honor, 1874. Diploma to the 
Memory of Deceased Artists, Haposition Universelle, 1878. 

It is quite probable that other men of the Barbizon School at times were greater 
artists than he, but none of them possessed Daubigny’s absorbing love of what 
was beautiful in nature for its own sake, or the exquisite sensibility and frankness a 
with which he painted those familiar scenes which have so long delighted the 
lovers of the beautiful in nature, and filled their hearts with a sincere affection. 


61. MANTES LA JOLIE > 
62. THE BANKS OF THE OISE—SUMMER 
63. THE WILLOWS 


DAUMIER (Honoré). 3 FRENCH 


Born in Marseilles in 1808. Painter and caricaturist. During the bourgeois 
régime of Louis Philippe, Daumier was the great caricaturist of politics, and 
later by his studies of misfortune and vice and of the street life of Paris he 
achieved a wonderfully comprehensive record of his time. It has the value of 
historical data and is at the same time great art by reason of the largeness, and — 
simplicity of line, the form of characterization, and the avoidance of all triviality. 
His “Robert Macaire” series, published in “Charivari,” was highly celebrated. In 
1877 he became blind, and he died at Valmandois in 1879, in a house given him 
by Corot. 


76. LE WAGON DE TROISIEME CLASSE 


DECAMPS (ALexanpre GaBsRIEL). FRENCH 


Born at Paris, March 3, 1803; died at Fontainebleau, August 22, 1860. Pupil 
of Abel de Pujol, of David, and also of Ingres. He freed himself early from 
classical principles of style and imitation of the antique, and formed himself 
through the study of nature. His name was soon counted with those of Ingres, 
Delacroix, and Delaroche, as a leader of the modern romantic French school. 

Decamps’ restless spirit sent him on many wanderings, and from a visit to Asia 
Minor he brought back the inspiration and material for the Oriental subjects, 
bathed in sunlight and glowing with slumberous color, which gave him a dis- 
tinctive place among the masters of the day. In his greatest success his life 
was not happy. He had his studio and hunting lodge in Fontainebleau, and he 
divided his life between painting and hunting to dissipate his brooding on his 
disappointment in life. He had few friends, though with Millet and other 
artists of his circle he was on amicable terms. Medals and honors only deep- 
ened his disgust at his inability to create monumental masterpieces. Only his 
great mind preserved him from total misanthropy. One day in 1860 he rode 


into the forest with his favorite hounds to hunt. The baying of the dogs 
attracted the attention of a forester, and he found one of the greatest artists 
of the world thrown from his horse and helpless from an injury which proved 
mortal. 


46. LES PETITS NAUTONIERS 


DEFREGGER (Franz von). AUSTRIAN 


Born at Stronach, Tyrol (Austria), 1835. Pupil of Munich Academy under 
Piloty, 1860. Gold Medals: Munich, Vienna, Berlin, Paris. Professor of Munich 
Academy. Order of St. Michael; of Francis Joseph; of Isabella the Catholic. 
Honorary Member of the Berlin, Vienna, and Amsterdam Academies. En- 
nobled in 1880. His work “Arriving at the Ball” was sold in the George I. 
Seney Sale, New York, 1885, for $10,500. 


42. THE ADVENTURE 


_DELACROIX (Ferprnanp Vicror Evcéne). FRENCH 


Born at Charenton St. Maurice, near Paris, 1798; died at Paris, 1863. Pupil 
of Guérin. Exhibited in 1822 his “Dante and Virgil,” which won him reputation, 
and he might have received high academic honors if he had not diverged from 
the prevalent classicism of the school of David and joined the romantic school, 
of which he became one of the leaders. He traveled in Spain and North 
Africa in 1831, and between that and 1855 executed important public commis- 
sions, decorating the Chamber of Deputies, the Library of the Luxembourg, the 
Church of St. Sulpice, and galleries in the Louvre and the Hotel de Ville. 
Shortly after the conception of these last he died; and, being dead, began 
straightway to live in the popular imagination. While during his lifetime he 
seldom got more than four hundred dollars for his largest paintings, the sale 
of the pictures he had left behind him netted the sum of one million eight 
hundred thousand francs. 

For the principles of art to which he clung, let himself speak: “This famous 
thing, the Beautiful,” he once wrote, “must be—every one says so—the final aim 
of art. But if it be the only aim, what then are we to make of men like 
Rubens, Rembrandt, and, in general, all the artistic natures of the North, who 
preferred other qualities belonging to their art? In any case, there is no recipe 
by means of which one can attain to what is called the ideally beautiful. Style 
depends absolutely and solely upon the free and original expression of each 
master’s peculiar qualities.” Legion of Honor, 1831; Officer, 1846; Commander, 
1855. Member of the Institute, 1857. 


“7”, COMBAT EN ALGERIE 
(First called by the artist: LA PERCEPTION DE L7IMPOT ARABE) 


DETAILLE (Jean Baptiste Epovarp). FRENCH 
Born at Paris, 1848; died there, Dec. 24, 1912. Favorite pupil of Meissonier. 
Exhibited at the Salon, in 1868, his “Halt of Infantry,” which received much 


praise, and in 1869 the “Rest During the Drill at Camp St. Maur,” which won’ ~ 
for him a medal, and which established his reputation as one of the most 
popular military painters of the day. Member of the Institute, 1892. He- 
served upon the Staff in the Tunisian Campaign, 1881. Visited and painted — 
in England and Austria, and in Russia he executed many important works for 
the personal collection of the Czar. President of the Society of French 
Artists, 1895 (Champs Elysées). Medals, Paris, 1869, ’70, 772. Medal of 
Honor, 1888. Legion of Honor, 1873; Officer, 1881; Commander, 1897. Grand 


Medal of Honor, 1897. Grand Cordon of the Order of St. Stanislas of Russia, a 


1897; Military Medal of England (Queen’s Jubilee), 1897; Colonial Medal — 
(Tunisian Expedition). 


g0. PRUSSIAN CUIRASSIERS ATTACKING A FRENCH CONVOY 


DIAZ DE LA PENA ( NarcissEe Vircine). FRENCH 


Born at Bordeaux, of Spanish parents, 1809; died at Mentone, 1860. Diaz was 

one of those who gave celebrity to the village of Barbizon, in the forest of 
Fontainebleau. Anything served him as a pretext for bringing to light his- 
marvelous aptitude as a colorist. He rendered with equal facility the enchant- 
ments of the landscape flooded with sunshine and the deep forest in luminous 
twilight, or nymphs with flesh of exquisite tone; and dazzled the eye with all the 
seductions of a grand colorist. 

He lives by his Fontainebleau landscapes. He is the third man in the great 
triad, and, though different in sentiment, mood and individuality from Rousseau 
or Dupré, he is to be named with them as one of the great landscape ys 
of the last century. 

Diaz was more successful in a worldly way than either of his companions. His 
pictures sold readily and he received many honors. But he never forgot his less 
fortunate comrades. He bought their pictures, loaned them money, kept their 
heads above water, while ever proclaiming their merit. This was particularly 
true of Rousseau and Millet. He never let slip an opportunity for testifying 
to their excellences. In 1851 he was made Chevalier of the Legion of Honor, but 
Rousseau was overlooked. At a dinner given to the new officers, Diaz made a 
great commotion by rising on his wooden leg and loudly proclaiming the health 
of “Théodore Rousseau, our master, who has been forgotten.” Medals: third 
class, 1844; second class, 1846; first class, 1848. Legion of Honor, 1851. - 


68. LA DISKEUSE DE BONNE AVENTURE 
69. SUNSET NEAR FONTAINEBLEAU 


DIEFFENBACH (H. A.). | GERMAN 


Born at Wiesbaden, Feb. 4, 1831. Genre painter, pupil in Diisseldorf of 
Jordan; returned in 1858 to Wiesbaden, lived in 1863-70 in Paris, then for one 
year in Switzerland, and in 1871 settled in Berlin. His favorite sphere is 
children’s and peasant life. ; 


38. THE FOSTER MOTHER 


DUPRE (JULEs). FRENCH 


64. 
65. 
66. 
67. 


Born at Nantes, 1811; died at L’Isle-Adam, 1889. One of the most original 
and powerful painters of the modern French School. At twelve years of age 
he was the principal_decorator in his father’s porcelain factory on the banks of 
the Oise. It was in the contemplation of nature, in his isolation amidst her 
influences, that the mind of the lad was opened to her beauty, and that her 
mystery was sounded by his thought. In his hours of freedom the boy used 
to wander over the fields with sketch-book and pencil. No professor inter- 
posed himself between this talent in its birth and what it portrayed. What he 
was ignorant of he asked but of her; what he learned was from her teaching. 
At eighteen the little china painter had become a young master. At sixty, he 
was the illustrious, respected veteran of the School of 1830—Delacroix, Rous- 
seau, Diaz, Corot, Barye, Millet, Decamps, and Troyon. 

Fortune favored Dupré with a more even disposition than his companion Rous- 
seau. He got along with the world better, was more successful financially, and 
had less bitterness in his life. He outlived all the early tempests that gath- 
ered about the heads of the band, and saw the ideas they had struggled for at 
last acknowledged. His quiet bearing under success was as admirable as his 
fortitude under early failure. He was not easily turned aside or beaten down 
or over-exalted. The belief of his youth he carried with him into old age, firmly 
convinced that some day it would triumph. Medals: second class, 1833 and 
1867. Legion of Honor, 1849; Officer, 1870. 


PASTURAGE NEAR L’ISLE-ADAM 
LANDSCAPE 

LANDSCAPE—“HUTS NEAR A POOL” 
A SUMMER LANDSCAPE 


FROMENTIN (Evekne). FRENCH 


45. 


Born at La Rochelle in 1820. He was the son of a successful lawyer and 
intended to follow his father’s profession. But after receiving his diploma in 


Paris, at the age of twenty-three, he was taken ill, and as a pastime took up 


the study of drawing. He soon discovered that his tastes were stronger in 
the direction of art than toward the practice of law, and he became a pupil of 
Cabat and Rémond. He had visited Algeria as a youth, and, attracted by Maril- 
hat’s paintings of the Orient, now made up his mind to return to that country. 
He accordingly spent three years there—1846 and 1848 and 1852. In 1847 he 
first exhibited at the Salon, and in a few years was recognized as a most 
sympathetic and poetical painter of Oriental subjects, and became, indeed, the 
leader of a school. In this delightful artist the painter’s talent was enhanced 
by a very decided literary aptitude, and thus in his works he not only paints 
Africa, he narrates it. He received medals at the Paris Salon in 1849, 1857 and 
1859, and at the Exposition in 1867. He was made Chevalier of the Legion of 
Honor in 1859 and Officer in 1869. Died in 1876. 


A LA FONTAINE 


GAINSBOROUGH (Tuomas), R.A. ENGLISH 


Born at Sudbury, in Suffolk, 1727. He attended the local grammar school, but 

making small progress in learning, was placed with a goldsmith in London, who 
introduced him to Gravelot, an engraver. The latter instructed him in drawing, 

and obtained for him admission to the St. Martin’s Lane Academy. After 

studying for three years, he hired rooms in Hatton Gardens, and, while waiting 

for customers, executed a few small landscapes which he sold to the dealers. 

Meeting with no success in London, he returned to Sudbury in 1745, and mar- 
ried Mary Burr, who had an annuity of two hundred pounds. After living 

fifteen years in Ipswich, he moved to Bath, where his success as a portrait 

painter was pronounced. During the fourteen years of his stay in that city he 

contributed regularly to the Royal Academy exhibitions, so that when he 

migrated in 1784 to London and rented part of Schomburg House, Pall Mall, 

he was welcomed as the rival of Reynolds in portraiture and of Wilson in land- 

scape. He was devoted to music and the simple delights of domestic life. In 
1788, upon his deathbed, he sent for Sir Joshua. “We are all going to heaven,” 
he whispered, “and Van Dyck is of the party.” By his request he was buried in 

the churchyard at Kew. 


91. PORTRAIT OF CAROLINE ANNE HORDE 


GERICAULT (Jean Louis Anpr& THEODORE). _ ‘FRENCH 


Born at Rouen, Sept. 26, 1791; died in Paris, Jan. 18, 1824. History and animal 
painter, pupil of Carle Vernet and of Guérin. In 1817, after serving in the army 
three years, he went to Italy and studied in Rome and Florence... His “Raft 
of the Medusa” (1819, Louvre) was loudly denounced by the critics on account 
of its bold realism; but its exhibition in London brought the painter 20,000 

_ francs and on his return to Paris a gold medal. He executed afterwards many 
studies in crayon and watercolor, and many lithographs; also he modeled for 
sculpture. 


49. THE WHITE HORSE 


GEROME (Jean Lion). FRENCH 


Born at Vesoul, 1824. Died, suddenly, at Paris, Jan. 10, 1904. Pupil of Paul 
Delaroche, whom he accompanied to Rome, and of Gleyre after his return from 
Italy. Géréme was one of the best-known of modern French painters, and he 
also executed several sculptured groups. His subjects are chiefly characteristic 
of life in the East. Medals: third class, 1847; second class, 1848, 1855; of Honor, 
1867, 1874-1878; for Sculpture, 1878. Legion of Honor, 1855; Officer, 1867 ; 
Commander, 1878. Member of Institute, 1865. Professor in the Ecole des 
Beaux-Arts, 1863. 


7g. BONAPARTE EN EGYPTE 


GREUZE (Jean-Baptiste). FRENCH 


Born at Tournus, near MaAcon, Aug. 21, 1725; died at the Louvre, in Paris, 
Mar. 21, 1805. Genre and portrait painter. Pupil at Lyons of Gromdon; he 
studied afterwards in the Academy at Paris and at Rome. His first picture, 
“A Father Explaining the Bible to His Children,” seemed to exceed anything 
that was expected of Greuze. He was elected an agréé or Associate of the 
French Academy of Painting in 1755, when his picture, “L’Aveugle trompé,” was 
exhibited, and in the same year he went to Italy with the Abbé Gougenot. In 
(1761 his “L’Accordée de Village” (Louvre) excited the greatest enthusiasm. 
Angry at.being received into the Academy (1769) as a genre and not as a history 
painter, Greuze retired for a time to Anjou, whence he returned to exhibit 
pictures which attracted all Paris. Exhibited at the Salons of 1755, ’57, 59, 
61, 63, °65, °69, 1800, ’01, °04. He amassed a large fortune, but lost it during 
the Revolution. Neglected by the public, which then admired only the new 
school of David, Greuze passed his last years in misery and regret. His wife, 
who was Mlle. Barbuty, whose charming face appears in so many of his pictures, 
was an extravagant and worthless woman, from whom he was separated long 
before his death. 


19. INNOCENCE 


GUARDI (Francesco). ITALIAN 


_ Born at Venice in 1712; died there in 1793. He was a pupil and follower of 
Canaletto. Worked mostly at Venice. Painter of architectural and landscape 
perspective views. He painted many pictures of Venice and its buildings and 
monuments, all charming in style though less exact in detail than those of 
Canaletto. — 


15. THE GRAND CANAL NEAR THE PIAZZA OF SAN MARCO, VENICE 
16. THE PIAZZA OF SAN MARCO, VENICE 


HALS (Frays). DUTCH 


Born at Antwerp, in 1584; died at Haarlem, 1666. He was a descendant of an 
old patrician family. Pupil of Karel Van Mander. One of the merriest and 
brightest-witted of all the Dutch portrait painters. 

He was the founder of a National style and a portrait painter who ranks with 
the greatest masters; his unusual talent excited the admiration of Van Dyck. 

His flesh coloring is vital; his handling broad, masterly and vigorous. His 
facility and intemperate habits led him to be careless, and for a couple of years 
before his death he was supported by the municipality of Haarlem and pensioned, 
though meagerly. For a century after he died his talent and genius were 
so far forgotten that many of his paintings sold for a few pounds. “As a 
master of brilliant brush-work, and in the consummate power of his handling, 
he stands second, if second, to Velasquez alone.” Seven of his large paintings 
hang in the Haarlem Museum. 


10. THE REVEREND CASPAR SIBELIUS 


HENNER (JeEan Jacauss). _ PRENCH 


Born at Bernwiller, Alsace, in 1829. His father was a peasant and without 
means, but the municipality, after the young student had shown promising 
talent in the studio of Gabriel Guérin at Strasbourg, sent him to Paris, where 
he entered the Ecole des Beaux-Arts and gained the Prix de Rome in 1858, — 
while a pupil of Drdlling and of Picot. He spent five years in Italy, and after- 
wards traveled in various countries in Europe. Attention was first called to the : 
great qualities of his work during his scholarship in Rome, and his “Susannah,” 
exhibited in 1865, established his reputation once for all. He has been a con- 
sistent idealist all his life, and his work combines the great charm of purity with 
a virile strength of effect. He received medals at the Paris Salon in 1863, 1865 — 
and 1866, and at the Exposition in 1878. He was made Chevalier of the Legion 
of Honor in 1873 and Officer in 1878. Medal at the Exposition in 1878; Member 
of the Institute in 1889. 


47, PENSEROSA 


HOBBEMA (MeEtnpert). s DUTCH 


Born at Amsterdam, 1638; died at same place, 1709. Pupil of Jacob Van — 
Ruisdael. Landscape painter. The figures and animals in his pictures were 
painted by Berghem, Van de Velde, Lingelbach, Wouwerman and others. Most 
of his paintings were bought by Englishmen. He was much neglected in his 
lifetime and little esteemed. He now ranks as one of the greatest Dutch masters 
of landscape art, thanks to the initiative of England. Less poetic than Ruisdael, 
he had greater truth in atmospheric effect and brilliancy of color. . 


24. CASTLE KOSTVERLOREN 


HOPPNER (Jouy), z.a. ENGLISH 


Born in Whitechapel, London, 1759, of German descent. At first a chorister in 
the Chapel Royal, he studied art at the Academy schools. He became an Associ- 
ate of the Royal Academy in 1793, and a full member a few years later. Under 
the patronage of the Prince of Wales he rose rapidly as a fashionable portrait 
painter, and found a rival only in Lawrence. Basing his style upon that of 
Sir Joshua Reynolds, he maintained, notwithstanding, an originality of his own, 
and was particularly happy in his rendering of women and children. In 1803 
he published “A Series of Portraits of Ladies of Rank and Fashion,” engraved 
from his own paintings. His death occurred in 1810. 


32. MRS. ARBUTHNOT 


DE HOOCH (Prerer). DUTCH 


Born at Rotterdam in 1632. Died at Amsterdam in 1681. Genre painter. Said 
to be a pupil of Nicolaes Berchem, but formed himself under the influence 
of Karel Fabritius and Rembrandt. His early works show clearly the influence 


of the soldier painters of the Frans Hals school and of the pupils of Rem- 
brandt, especially Karel Fabritius. He first worked mostly at Delft, later at 
Amsterdam (from about 1665). One of the most original artists of the Dutch 
School, and notable as a painter of sunlight and for his portrayal of ‘domestic 
scenes. 


25. THE MUSIC PARTY 


-INNESS (Georce). AMERICAN 


Born at Newburgh, N. Y., 1825; died, 1894. Pupil of Regis Gignoux, 1868. In 
Italy, 1871-75. His pictures resemble the works of other artists in nothing. 
He was erratic, but possessed with a deep love of and devotion to nature. The 
ideal and poetic sentiment was ever uppermost in his mind, and no creation of 
his was without the stamp of his remarkable individuality. In his later works he 
attained an excellence which placed him in the front rank of the best landscape 
painters of the world. Member of the National Academy of Design. His works 
adorn some of the most distinguished collections of the land. 


72, SUNSET (MONTCLAIR) 
73. SUNSET 


KNAUS (Lupwic). GERMAN 


Born at Wiesbaden, 1829. Pupil of Diisseldorf Academy under Sohn and 
Schadow in 1846-52, then studied in Paris until 1860; visited Italy in 1857-58; 
lived in Berlin, 1861-66, and at Diisseldorf from 1866 to 1874. Professor at the 
Berlin Academy from 1874 to 1884. He is the foremost genre painter in Ger- 
many. Member of the Vienna, Berlin, Munich, Amsterdam, Antwerp, and 
Christiania Academies. Medals: Paris, second class, 1853; first class, 1855, °57, 
59. Legion of Honor, 1859; Officer, 1867. Grand Medal of Honor, 1867; 
Knight of Prussian Order of Merit, etc., and many medals. 


41. A BAVARIAN HOLIDAY 


LAWRENCE (Sir Tuomas), p.z.a. ENGLISH 


Born at Bristol, 1769. Died at London, 1830. He early distinguished himself 
for his ability in drawing. His father was landlord of the Black Bear Inn, 
Devizes, and the first efforts of the young painter which attracted notice were 
some portraits in chalk of his father’s customers. At the early age of ten years 
he set up as a portrait painter in crayons, at Oxford; but he soon afterwards 
ventured to take a house at Bath, where he immediately met with much employ- 
ment and extraordinary success. In his seventeenth year he commenced oil 
painting; in 1787, twelve months afterwards, he settled in London, and entered 
himself as a student in the Royal Academy. His success in London was as great 
as it had been in the Provinces. In 1791, though under the age required by the 
laws (twenty-four), he was elected an associate of the Academy, and after the 
death of Sir Joshua Reynolds, in the following year, he succeeded him as painter 
to the King. He painted at this time, in his twenty-third year, the portraits of 


a 


the King and Queen which were presented by Lord Macartney to the Emperor — 
of China. In 1794 he was elected a Royal Accademician; he was knighted by the — 
Prince Regent in 1815; and at the death of Benjamin West, in 1820, he was” 
unanimously elected president of the Academy. From the time of his election —_ 
as a member of the Academy to his death, Sir Thomas’s career as a portrait 
painter was unrivaled; he contributed, from 1787 to 1830 inclusive, 311 pictures 
to the exhibitions of the Royal Academy. He died in London, at his house in 
Russell Square, Jan. 7, 1830. He was never married. Shortly after his death,a  _ 
selection of ninety-one of his works was exhibited at the British Institution. He beats 
was a member of St. Luke at Rome, and of many other foreign academies; and ; 
in 1825 he was created a Chevalier of the Legion of Honor. 


20. MISS KENT. 


a 


LITSCHAUER (Kart Jossrn). | GERMAN 


Born in Vienna, Mar. 1, 1830; died in Diisseldorf, Aug. 8, 1871. Genre painter, 
pupil of Vienna Academy and of Robert Waldmiiller, then of Diisseldorf Acad- 
emy, and of Tidemand; settled in Diisseldorf. Great Gold Medal and sage 
member of Amsterdam Academy in 1864. 


40. THE COUNTERFEITERS 


a 


MAUVE (Anton). DUTCH 


“It was truly said when Anton Mauve died that Holland had sustained a national — 
loss. Though comparatively a young man, he had made a powerful impression 

on the art of his country, and did more than any of his contemporaries to infuse _ 
into the minds of his fellow-artists higher aims and to lead them toward that 
close sympathy with nature which was his own inspiration. He loved the Dutch 

farms, dykes and heaths, and he painted them lovingly and tenderly in a direct, 

simple way. To him his country was not always dull, gray and damp, as other 

artists would have us believe. He saw and felt, and shows us, its light and 

sunshine, too. Through his pictures we may know Holland as it is, with its 
peaceful peasant life in both field and cottage—not that life of hard and hopeless ~ y 

toil that Millet so often painted, but the life of peaceful and contented Aor 
which, happily, is, after all, the peasant’s more frequent lot. 

“Mauve was born at Zaandam, Sept. 18, 1838, and died at the house of his brother, 
in Arnheim, Feb. 5, 1888. . 

“Though he was for a short time in the school of P. F. Van Os, he was mainly 
a self-taught artist."—W. Macseru. J 


37. WINTER LANDSCAPE 


McENTEE (JERvis), n.A. - AMERICAN 


He was born at Rondout, N. Y., in 1828, and began the study of art in the city 
of New York in 1850 under Frederick E. Church, N.A. A few years later he 
opened a studio of his own, and in 1861 he was elected a National Academician. 


> * 


i 


His work represents various characteristic phases of the American scenery and 
climate. His pictures at the Centennial Exhibition, Philadelphia, in 1876, were 
commended by the judges, and a picture exhibited at the Royal Academy in 
1872 was received with great favor in London. He died in 1891. 


75. AUTUMN LANDSCAPE WITH FIGURES 


MEISSONIER (Jean Louis Ernesr). FRENCH 


Born in Lyons, Feb. 21, 1815; died, Jan. 31, 1891. Went to Paris in 1830, 
where he was for four months the pupil of Léon Cogniet. But he formed himself 
simply by studying the works of old masters, especially the Dutch School. He 
first became known as an illustrator of books. His first exhibited picture was 
“The Visitors,” 1834. Medals: Third class, 1830; second class, 1841; first class, 
1843, °48; of Honor, 1855, ’67, °78. Legion of Honor, 1846; Officer, 1856; 
Commander, 1867; Grand Officer, 1878; Grand Commander, 1889. Member of 
Institute, 1861; Munich Academy, 1867. Honorary Member Royal Academy, 
London, and other academies. Grand Medal of Honor, 1855, Universal Exhi- 
bition; Medal of Honor, 1867, Universal Exhibition. 


51. A CAVALIER 


MILLAIS (Sir Joun Everett, Bart.). ENGLISH 


Born in Southampton, June 8, 1829. Died, 1896. Genre, landscape, and portrait 
painter. Pupil in drawing at Mr. Sass’s Academy, and won in 1838 a silver medal 
of the Society of Arts with a drawing from the antique; became in 1840 a 

_ student in the Royal Academy, where he won in 1843 the silver medal. He ex- 
hibited, in 1846, “Pizarro Seizing the Inca of Peru,” and in 1847 was awarded 
_the gold medal for his “Benjamites Seizing the Daughters of Shiloh.” In 1847 
he competed for a commission to paint in the Houses of Parliament, sending 
to Westminster Hall “The Widow Bestowing Her Mite,” and in the same year 
his “Elgiva Seized by Odo” was in the Academy. In the years 1847-49, in con- 
nection with D. G. Rossetti, Holman Hunt, Woolner, and others, seven in all, 
he founded an association, afterwards called the Pre-Raphaelite Brotherhood, 
whose motto was Truth. Nothing was to be generalized in their art which could 
and should be expressed in detail. Their theory was that what is common in 
Nature is good enough for art. In 1854 Mr. Millais was elected an A.R.A., 
being, with the exception of Lawrence, the youngest artist who had attained that 
distinction; he became an R.A. in 1863 and was created a baronet in 1885. He 
was awarded a 2d class medal at Paris in 1855, a medal of honor in 1878, in which 
year he was made an Officer of the Legion of Honor, and was chosen a Member 
of the Institute of France in 1883. He was a member also of the Academies of 
Edinburgh, Antwerp, Madrid and Rome. 


31. THE PET BIRD 


MILLET (Jean Francois). FRENCH 
Born at Gréville, Oct. 4, 1814; died at Barbizon, Jan. 20, 1875. Pupil of ay 
Mouchel, Langlois, and Delaroche. A peasant himself in origin, his representa- — “@ 
tions of peasant life were painted with simple, earnest feeling, a comprehension _ 
of its pathos such as no other painter has reached. His best work began in 1849 
with contributions to the Salon, which were continued up to 1870. His early 
work treated generally of the nude, but later he dropped that entirely. Medals: __ 
Second class, 1853 and 1864; first class, 1867. Legion of Honor, 1868. ae 
“While the artistic atmosphere was torn with the cries of partisans, Millet had (og Ee 
ears only for the cry of the soil. The peasant of Gruchy is the epic painter of 
the nineteenth century’s newly discovered conception of the dignity of work. — 
Nor does he blink the inherent curse of it—the sweat and pain of labor; the 
distortion of body, and premature age; the strait conditions and unhonored death © 
—but out of the completeness with which the life conforms to its environments 


he discovers its dignity.” 


52. LE GARDEUR DE MOUTONS 


MONTICELLI (ApotpuHe). | FRENCH | 


Born at Marseilles, of Italian parentage, in 1824; died there in 1886. His 
pictures are noted for the richness of their color and the beautiful tones which 
they display. They are somewhat suggestive of the figure pieces of Diaz. 
Monticelli received his early training in the Art School of Marseilles and 
settled in Paris during the °40’s, where the friendship of Diaz opened the way 
for him to the circles of the artists. He won praise from some of the most 
noted of these and had attained fame for his wonderful color compositions both — 
in England and America, as well as in France, when the collapse of Napoleon — 
III’s Empire sent him back to his native city, which he never left again. 


43. COURT D’AMOUR 
44. ROMANTIC SCENE 


MORLAND (GerorGE). FRENCH 


Born in London in 1763. The son of a portrait-painter, he received instruction 
from his father, studied at the Academy schools, and assiduously copied the 
Dutch and Flemish pictures. As early as 1779 his sketches were exhibited at the 
Academy. At nineteen he threw off all home ties and began a career of reck- 
lessness. For a time he was the slave of a picture-dealer, from whom he escaped 
to France. Later he lived with his friend William Ward, the mezzotint engraver, 

_ whose daughter he married. His pictures, distinguished by truthfulness of repre- 
sentation, skilful technique, and qualities of color and light, were prized during 
his own life and are still sought by connoisseurs. Died, Oct. 29, 1804. 


13. RUSTIC SCENE 


NASMYTH (Parricx). SCOTCH 


Born in Edinburgh, 1787; died at Lambeth, 1831. Son and pupil of Alexander 
Nasmyth, a landscape painter; went to London in 1807, and two years later 
exhibited his first picture in the Royal Academy. Painted simple landscapes, 


with much detail in execution, in imitation of the Dutch School, but with great 
force. 


1. EDINBURGH FROM GOGAR 


NEUHUYS (Atserr). DUTCH 


Born at Utrecht, June 10, 1844. Resides at Laren, Holland. Pupil of the 
Academy at Antwerp. Officer of the Order of St. Michael of Bavaria. Gold 
medal, Vienna, and two medals of the first class, World’s Columbian Exposition, 
Chicago, 1893. Honorary Member of the Academy of Sciences and Fine Arts 
of Rotterdam, and of the Society of Aquarellists of Brussels. 


36. MOTHER AND CHILDREN 


DE NEUVILLE (Atpuonse Marie). FRENCH 


Born at Saint Omer, France, in 1836. His parents, who were rich and influen- 
tial, intended him for an official career, but from the first his tastes inclined 
to the army, and finally he was sent to the military school at Lorient. During 
his brief stay there and also in the law school in Paris, which he attended to 
please his parents, he spent most of his time sketching, and finally determined 
to become a painter, notwithstanding the remonstrances of his family and 
friends. He studied with Delacroix and Picot, more as a friend than as a 
student, but his first pictures were not successful. The Franco-Prussian War 
gave him, however, the necessary stimulus and opportunity, and his pictures of 
that epoch are among the most remarkable war pictures ever painted. He re- 
ceived medals at Paris in 1859 and 1861; was made Chevalier of the Legion of 
Honor in 1873 and Officer in 1881. Died in 1885. 


79. TRANSPORT OF PRISONERS 


REMBRANDT VAN RIJN (Rempranpt Harmense Van Risyn). 
DUTCH 


Born at Leyden, July 15, 1606. Buried in the Westerkerk (Church of the West) 
at Amsterdam, Oct. 8, 1669. He was the son of a prosperous miller of Leyden 
whose ambition was to see him in one of the learned professions. But the boy’s 
love for art overcame all difficulties and oppositions, and he entered the studio 
of Van Swanenburg as a pupil, and later that of Pieter Lastman. The bold, 
strong features of old age had a fascination for Rembrandt; the bold markings, 
broad planes, and vigorous lines easily gave him that clue to a mastery of 
expression which is so characteristic of all his works. In 1631 he opened a 
studio in Amsterdam, and resided there until his death. In 1634 he married 


Saskia Van Uylenborch, whose fair face and form are seen in many of his ‘S 
portraits, biblical and historical pictures. For eight years fortune smiled upon 
him; his studio was crowded with pupils and he had patronage far beyond his 
needs. But Saskia died in 1642 and a gloom was cast over the life of the young 
painter. In 1650 Hendrikje Stoffels, a beautiful young girl from the country, _ 
came to live in his home as housekeeper, and cared for him tenderly during his 
last days of poverty and misfortune until the end came. Unfortunately, Rem- 
brandt had been too lavish in his expenditures, fashion changed and under the — 
influence of French tastes for the lighter, smoother, and more elegant and 
decorative pictures, Rembrandt was neglected and his more robust art found — 
little favor; debts accumulated, commissions were few, and at last he was declared 
a bankrupt and his whole effects were sold by auction. 


28. LUCRETIA STABBING HERSELF 


woot oy o< 
te 


CR ee oN 
ee ET a 


Se 


REYNOLDS (Sir Josuwa), p.R.a. ENGLISH | 


Born at Plympton, Devonshire, July 16, 1723; died in London, Feb. 23, 1792. 
Son of the Rev. Samuel Reynolds, master of the Grammar School at Plympton, 
St. Mary’s, Plymouth. Went to London in 1741 as a pupil of Thomas Hudson, 
and after less than two years’ study returned home and painted many portraits 
at a low price. In 1746 he began to practice in London, and in 1749 accom- 
panied Commodore, afterwards Lord Keppel, in the ship Centurion, to the Med- 
iterranean. At Rome he caught a cold while working in the Sistine Chapel, 
which made him deaf for the rest of his life. He returned to England in 
October, 1752, and settled in London, first in St. Martin’s Lane. In 1768, on 
the establishment of the Royal Academy, he was chosen its first president and 
was knighted by.George III. Upon the death of Allan Ramsay, 1784, he became 
principal painter in ordinary to the king. He died unmarried, and was buried 
in St. Paul’s Cathedral near Sir Christopher Wren. 


22. MISS MORRIS (AFTERWARDS MRS. LOCKWOOD) 


ROMNEY (GeorceE). ENGLISH | 


Born at Dalton-le-Furness, Lancashire, England, Dec. 15, 1734; died ‘at Kendal, 
Nov. 15, 1802. After acquiring a little knowledge of painting from Steele, a 
painter at Kendal, he supported himself by painting portraits in the north of 
England at two guineas a head until 1762, when he went to London. In that 
year and in 1763 he gained premiums from the Society of Arts for his pictures 
of “The Death of Wolfe” and “The Death of King Edward.” In 1773 he 
visited Italy, and after a two years’ absence established himself in London, 
where until 1797, when he removed to Hampstead, he divided public patronage 
with Reynolds and Gainsborough. His famous model was the notorious but 
beautiful Lady Hamilton, whose face he reproduced in various guise. 


18. LADY HAMILTON AS MADONNA 


34. THE WILLETT CHILDREN 
35. COUNTESS OF GLENCAIRN 


ROUSSEAU (Pierre Ertenne Tutopore). FRENCH 


53. 
54. 
55. 


56. 


Born at Paris, April 15, 1812; died at Barbizon, near Fontainebleau, Dec. 22, 
1867. Landscape painter; pupil of Rémond (1826) and of Lethiére. Showed 
himself a true “naturalist” in his first picture (1826), and up to 1848—when his 
works, after being for thirteen years excluded from the Salon by the Aca- 
demical Jury, then abolished, were readmitted—fought the battle of naturalism 
with varying success, and founded the modern French school of landscape 
painting, of which he was one of the chief glories. Albert Wolfe said of 
Rousseau: “He occupied the highest place, because he was the most perfect 
master. The grand aspect of landscape and its tenderness are equally familiar 
to him. He renders with the same mastery the smile of creation and its terrors, 
the broad open plain and the mysterious forest; the limpid, sunbright sky or 
the heaping of the clouds put to flight by storms; the terrible aspects of land- 
scape or those replete with grace. He has understood all, rendered all, with 
equal genius. The great contemporary painters have each a particular stamp, 
Corot painting -the grace, Millet the hidden voice, Jules Dupré the majestic 
strength. Théodore Rousseau has been by turns as much a poet as Corot, as 
melancholy as Millet, as°awful as Dupré; he is the most complete, for he em- 
braces landscape art absolutely. 

“Tt is useless to repeat the story of his life. It is common knowledge nowadays 
that he battled against odds, endured neglect and disappointment, and died 
practically unappreciated. It is small credit to human intelligence that pictures 
which were rejected at the Salon and declined by the amateurs now sell for 
enormous prices or are treasured in the art museums of every land. No land- 
scape painter before him ever equaled him, no landscape painter since his 
time has excelled him; yet it took the race many years to find that out. He 
went to the shades unsung. ‘Rousseau, c’est un aigle.’ Honor to you, Pére Corot, 
for uttering that truth so early!” 

Medals: third class, 1834; first class, 1849, °55; Medal of Honor, 1867. Legion 
of Honor, 1852. 


LE PLATEAU DE BELLECROIX 


THE POOL IN THE FOREST 

LA MARE A PIAT, FORET DE FONTAINEBLEAU—SOLEIL COU- 
CHANT 

THE POOL—CLEARING OFF 


SIEGERT (Aueusr). GERMAN 


39. 


Born at Neu-Wied, 1820; died in Diisseldorf, 1883. Pupil of Diisseldorf Acad- 
emy under Hildebrandt and Schadow in 1835-46. Professor of that Academy 
in 1872. Member of Amsterdam Academy. Medal at Vienna. 


THE OLD GRANDMOTHER 


5. WOMAN SMOKING IN AN INN 


9. LADY POURING WINE 


TENIERS (Davin, THE YouncER).— . . FLEMISH — 
Painter and engraver. Born at Antwerp, 1610; baptized in the Church of ‘St. 
Jaques, December 15; died at Perck, near Brussels, April 25, 1690. Pupil of his | 
father. Worked at Antwerp (member of the Guild from 1632). Was made 
court painter to Archduke Leopold Wilhelm, Governor of the Netherlands, and 
settled between 1648 and 1652 in Brussels, where he was received into the 
Guild in 1675. He was the prime mover in the foundation of the Antwerp > 
Academy in 1663. Equally favored by Leopold Wilhelm’s successor, Don Juan 
of Austria, who is said to have studied under him. He received important com- 
missions from Philip IV. of Spain, and marks of esteem from Queen Christina 
of Sweden, and the great people in England and other countries. Influenced 
by Rubens and especially by Brouwer. 


~ om 
TR NOR. ORO REALTIME ST AE ATEN AOS 


ih, 
oa 


ee 


TERBORCH (Gerarp). ) DOr eHas 
Born at Zwolle, between 1613 and 1617; died at Deventer, Dec. 8, 1681. Pupil — 
of his father. Painted in Amsterdam, and also in Haarlem, where he entered — 
the Guild in 1635, under the influence of Frans Hals. Traveled through Ger- 
many, Italy, Spain, England, and France, and painted everywhere portraits € 
and genre pieces. In 1646-48, at Miinster, he became, through the favor of the © 
Spanish envoy to Madrid, the painter of the Diplomatic Circle. He followed 
the Spanish envoy to Madrid, where he painted the king and many courtiers 
and ladies. He returned via England and France to his native country, and . 
settled at Deventer, where he obtained a citizenship in 1655. He afterwards 
became burgomaster. He first put forward the satin gown, so much used by | 
Mieris and Metsu. 


TROYON (Constant). FRENCH ; 7am 
Born at Sévres, 1810; died in Paris, 1865. Pupil of Riocreux and Poupart, and — - 
influenced by Roqueplan to study nature, for which he showed an individual 
feeling in his first exhibited works, 1832. A visit to Holland in 1847 revealed to 
Troyon his true mission, that of an animal painter. His great technical skill and — 
inexhaustible resources as a colorist, and other rare endowments, enabled him 
to grapple with all the varying moods and effects of nature, and as a cattle and 
landscape painter he soon became illustrious. Member of the Amsterdam 
Academy. Diploma to the Memory of Deceased Artists, Exposition Universelle, 
1878. : 

Long before he began to paint animals he had won distinction as a landscape 
painter. His first picture was exhibited at the Salon in 1832, when he was 
twenty-two years of age; three years later he received his first honor—a medal of 
the third class; in 1839 the Museum of Amiens purchased his Salon picture; in 
1840 he obtained a medal of the second class; in 1846 a medal of the first class, 
besides having a picture bought for the museum at Lille; finally, in 1849, he 
received his greatest public preferment—the Cross of the Legion of Honor. All 


these honors were awarded him before he had publicly exhibited an important 
picture of animal life, and were bestowed upon him for his excellence as a 
landscape painter alone. Troyon saw his landscape and his cattle as a pictorial 
whole, just as we ourselves behold them in nature. 


70. L’APPROCHE DE L’ORAGE 


TURNER (JoserpH Matitorp Witiiam). ENGLISH 


Born in Maiden Lane, Covent Garden, London, 1775; died, 1851. He was the 
son of a barber, and his father intended him for his own profession. Of his 
earlier sketches, made in pencil and India ink when he was a boy, a large pro- 
portion consists of careful studies of stranded boats, and different parts of old 
Dutch shipping. He hired himself out every evening to wash in skies in India 
ink in other people’s drawings, at half a crown a night, getting his supper into 
the bargain. It was in water color that Turner first painted. By 1789 he 
began to paint in oils, and this great genius, who now holds the first place in 
_ English landscape art, entered the Royal Academy as a student at the age of 
thirteen, and under the prevailing influence of the day studied the works of 
Claude Lorrain, the Poussins, Salvator Rosa, and other classical painters. 
Ruskin says: “The great distinctive passion of Turner’s nature—that which 
separates him from all other modern landscape painters—is his sympathy 
with sorrow, deepened by his continual sense of the power of death. Colossal 
in power, he was also-tender and delicate in harmony of tint and subtlety 
of drawing. He had a perfect grasp of English scenery, and shrank from 
no labor in expressing details. His Yorkshire drawings are peculiarly rich 
and varied in composition, the rock and hill forms being marvelously accurate, 
while his skies and effects of mist are exquisitely rendered. Glorious in con- 
ception—unfathomable in knowledge—solitary in power—with the elements wait- 
ing upon his will, and the night and morning obedient to his call, sent as a 
prophet of God to reveal to men the mysteries of a universe; standing like the 
great angel of the Apocalypse, clothed with a cloud, and with a rainbow upon 
his head, and with the sun and stars given into his hand.” 
”, THE CLIFFS AT DOVER 
99. EAST COWES CASTLE, THE SEAT OF J. NASH, ESQ.—THE REGATTA 
BEARING TO WINDWARD 


VAN DE VELDE (Witte, THE YOUNGER). DUTCH 


Born in Amsterdam in 1633; died at Greenwich, April 6, 1707; buried in St. 
James’ Church, Piccadilly. Son and pupil of Willem Van de Velde the Elder. 
After he had gained a reputation in Holland he went with his father to 
England, and in 1674 Charles II granted him a salary of £100 for painting 
sea fights, for which the elder painter made the drawings. This salary, with an 
equal pension granted the father, was continued by James II. He was the 
best known marine painter of the Dutch School. Smith’s Catalogue records 
329 paintings by him. Most of them are in English private collections, 


2, CALM SEA <5 
| 


VAN DYCK (Sir AntrHony). . FLEMISH i 


Born in Antwerp, March 22, 1599; died in London, December 9, 1641. At ten a 
years of age he was apprenticed by his father, Francis Van Dyck, linen draper, 
to Hendrik Van Balen, and at sixteen he entered the studio of Rubens as his — 
pupil and assistant, employed by this great master to prepare black and white 
drawings for his pictures for the use of the engravers who worked under his — 
eye, and to make cartoons from his sketches. Wan Dyck’s talent developed with © i 
astonishing rapidity. He obtained access to James I through the Countess of . 
Arundel. He painted the king’s portrait at Windsor. In the autumn of 1621 
the king gave him a horse and sent him on a journey to Italy, where Van — 
Dyck took up his residence. Jealousy of his great success made Rome intol- 
erable, and he proceeded to Genoa in January, 1624, and remained there until 
the next year, when he returned home. Rubens was very fond of him, and ~ 
bought several of his pictures, which set the tide running in his favor. After _ 
an unsuccessful visit to England in 1627, where he failed to obtain presentation 
at Court for want of favor with the Duke of Buckingham, Van Dyck lived > 
for three years at Antwerp and Brussels, painting and etching a number of ~ 
pictures which have become famous. In 1630 Charles I, who had seen some of 
his work, invited him to England. In April, 1632, Van Dyck obeyed the sum- 
mons, and after he had been presented to the king by Sir Kenelm Digby, 
painted his portrait, that of the queen, and the great picture of the royal family 
now at Windsor. In July he was knighted and appointed court painter, and in 
October, 1633, had a pension of £200 a year assigned to him. During the next 
nine years he painted nineteen portraits of the king, seventeen of the queen, as 
well as many of their children, at a fixed price of £50 for half and £100 for 
full sength figures. Living in a style of splendor far beyond his means, Van 
Dyck became more and more embarrassed as the troubles of Charles’s reign 
thickened, until in 1638 he presented his unpaid claims to the king, including his 
pension for the past five years, payment for many portraits and for four car- 
toons for tapestries at Whitehall, which he valued at the large sum of £80,000. 
These claims were but partially satisfied when he went to France in 1641. Dis- 
appointed and in broken health, he returned to England via Antwerp, and on the 
first of December, the birthday of his daughter Giustiniana, he made his will, 
and on the ninth he expired. He was buried in St. Paul’s Cathedral. 


27. PORTRAIT OF A GENTLEMAN (SCHELTIUS A BOLSWERT, THE 
FAMOUS ENGRAVER) . ; 


One Amn Be Bete ck. & peo 
SS 


PA ORE AAT ORR 


VAN OSTADE (Apnriaen). 


Born in Haarlem; baptized, December 10, 1610; died in Haarlem, April 27, 
1685. Pupil of Frans Hals, and after 1640 developed under Rembrandt’s 
influence. His family took the name of Ostade from a village now called Ostedt, 
in the environs of Eindhoven, whence his father, a weaver, removed to Haarlem, 
1605. Adriaen at a very early age became the favorite pupil of Frans Hals. 
He married twice, and died a widower. He had many pupils, one of whom 


was the famous Jan Steen. He was not only an inimitable painter of rustic 
scenes, but also an excellent etcher. 


11, BACKGAMMON PLAYERS AT AN INN 


VAN OSTADE (Izacx). DUTCH 


Born in Haarlem; baptized, June 2, 1621; died there; buried Oct. 16, 1649. 
Genre and landscape painter. Brother and pupil of Adriaen. His pictures 
which are of most value are his landscapes with figures, in which his individual- 
ity found scope. 


6. PEASANTS BEFORE AN INN 


VAN RUISDAEL (Rvyspaetr) (Jacop Isaacksz). DUTCH 


Born at Haarlem, about 1625 (?); died there, 1682. Son and pupil of Izack Van 
Ruisdael; probably also pupil of his uncle Solomon Van Ruisdael. He became 
the greatest landscape painter of the Dutch School. Yet he was so little 
appreciated by his contemporaries that his co-religionists among the Mennonites 
petitioned for his admission to the public hospital. 

In 1648 he joined the Guild of St. Luke, at Haarlem, and in 1659 obtained the 
rights of citizenship at Amsterdam. He gained but a scant maintenance, how- 
ever, by his art. The figures introduced in his landscapes are by Berchem, 
Adriaen Van de Velde, Wouwerman, Lingelbach, Vermeer and Eglin Van der 
Neer. Ruisdael was also an admirable etcher. 


14. A WATERFALL 
26. THE CASCADE 


VIBERT (JeHAN GeorcEs). FRENCH 


Born in Paris, September 30, 1840; died, 1902. Pupil of Picot and Barrias. 
Medals: 1864, ’67, 68, °78. Legion of Honor, 1870; Officer, Legion of Honor, 
1882. 


4s. A THEOLOGICAL DISPUTE 


WHITTREDGE (Worrninecron), N.A. AMERICAN 


Worthington Whittredge was long a veteran of the American School, but his 
later work preserved the vitality of his earlier period. He was born in Ohio in 
1820 and entered commercial life in Cincinnati, studying art in his hours of 
recreation. He finally took up the profession in earnest and became a local 
portrait painter of note. In 1850 he visited Europe, studying the masters in 
the galleries of London and Paris, and later entered the studio of Andreas 
Achenbach in Diisseldorf. He remained there three years, when he went to 
paint in Belgium and Holland and in Rome. In 1859 he returned to the United 
States and settled in New York. In 1861 he was elected a National Academician, 


| 


= even 


becoming president of the institution in 1874 and holding office for three success- 
ive terms. In 1866 he made a sketching trip to the Far West. He received an 
honorable mention from the art judges at the Paris Exposition of 1889. Died, — 
New York, 1911. | ; 


74, SCENE IN CENTRAL PARK, 1874 


WOUWERMAN (Putt). DUTCH] am 
Born in Haarlem, baptized May 24, 1619; died May 19, 1668. Landscape, genre va a 
and animal painter. He introduced horses, hunts and soldiers in his compositions, 7 : 
with great variety. He painted nearly 800 pictures, repeating some of the 
motives often. Instructed by his father, also by Jan Wynants. His first style a 
is in the brown tone—his horses are heavy; his second style is distinguished by 
the pure golden tone and the slender build of his horses; and his third by the 
prevalence of a dull silvery tone. 


8. THE SUTLER’S BOOTH 
17. LLABREUVOIR 


WYANT (Axexanper H.), w.a. AMERICAN 


“Inness and Wyant! We constantly hear these two great names coupled when- — 
ever American landscape painting is discussed, and by common consent 
they are placed at the top. How different their work is; how different in 
conception, first of all, and how different it is in carrying out the conception, 
all those understand who know the pictures of both. Less of a synthesist than 
Inness, but yet painting very broadly and comprehensively while retaining detail, 
Wyant, in his landscapes, almost hesitates to make nature meet his purpose, 
and generally makes his means provide the way to hold on to her truth, and at 
the same time translate her mood into his. own expression. A very strong — = 
colorist, he never indulges in unctuous richness, but paints soberly and with © 
great reserve force the strongest and most brilliant of his effects. He loved ~ 
the gray skies and somber tints of November, the subtle mystery of twilight, and 
the fading glory of the sunset. But when the mood was on him he depicted 
with cheerful, buoyant color the pleasant atmosphere of midday, or the fresh, 
clear tints of the foliage with its bath of dew drying in the morning sun. One 
of his greatest pictures is ‘In the Adirondacks,’ a forest effect with a stream 
in the foreground, painted with the midday light illuminating the recesses of 
the forest and bringing out the hundred tints of green and gray of the leaves 
and trunks of the trees and the carpet of grass and moss. In every effect he 
painted he was veracious, and in every canvas he signed he put his deepest 
feeling. 

“Alexander H. Wyant was born in Ohio in 1836, and at the age of twenty 
was painting with considerable skill. He spent some years in Diisseldorf in 
academic study, and all the rest of his art he taught himself with nature for 
his guide. He went to the Adirondacks early in his career, and many of his 
best works were painted from motives found in that region. He was elected 


71. 


a National Academician in 1869, and was a founder member of the American 
Water Color Society. He died in 1892. His pictures are in numerous private 
collections and in several public galleries. ‘View in County Kerry’ is in the 
permanent collection of the Metropolitan Museum, New York.” 


THE APPROACHING STORM 


WYNANTS (Jay). DUTCH 


12. 


Born in Haarlem about 1615; died about 1680. Landscape painter whose pic- 
tures are characterized by a certain prosaic truthfulness, fine aerial perspective, 
silvery-toned background, and careful execution of detail. His foreground 
figures were supplied by Adriaen Van de Velde, Lingelbach, Wouwerman, 
Barent Earl, Helt-Stockade and Schellinks. His canvases are in many European 
museums. and private collections. 


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